Jaina Mahavidyas in Osian

Author(s): Maruti Nandan Prasad Tiwari, Kamalgiri
Publisher: Z_Nirgrantha_1_022701.pdf and Nirgrantha_2_022702.pdf and Nirgrantha_3_022703.pdf
Catalog link: https://jainqq.org/explore/269032/1

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JAINA MAHAVIDYĀS IN OSIAN
Maruti Nandan Prasad Tiwari
and
Kamal Giri
Osiāñ (District Jodhpur, Rajasthan) was an important Pratīhāra township with several early temples, of which 13 are today extant. Besides several Brahminical temples, the site has a Jaina temple, dedicated to Jina Mahāvīra which, in fact, is the oldest standing Jaina temple in all of Western India. The temple possibly was built towards the close of the eighth century A. D. during the period of Vatsarāja Pratīhāra (A. D. 783-92)'. The temple complex faces north and rests on a vast jagati. It comprises mukhamandapa (forehall) with a mukhacatuski (porch), gūdhamandapa (closed hall), and mūlaprāsāda (sanctum) (Plate 1). On the front of the temple, there was a torana (now dismantled) and further ahead is a balanaka which, for its greater part, is contemporaneous with the temple and is articulated on the east with a devakulikā assignable to c. late tenth century A. D. The torana and the balanaka possess inscriptions respectively dated in V. S. 1076/A. D. 1019/ and 1013/A. D. 956. The balanaka inscription reports that it was refurbished by some Jindaka in A. D. 956. On the east and west, close to the main temple, stands a pair each of the devakulikās datable to the first half of the 11th century A. D.2 The Jaina buildings at the site are the products exclusively of the Svetārbara sect. The hieratic figures on the main temple walls and the hall-superstructure are the earliest known Jaina sculptures in association with the temple-structure and hence are significant. They include Mahāvidyas, Yaksas like Pārsva, Sarvānubhūti and Varuna, Yaksīs like Ambikā amd Padmavatī, and the Asta-Dikpālas, as also Sarasvati and Mahālakṣmi. The medieval torana and the five devakulikās likewise illustrate Mahavidyas, Asta-Dikpālas, Yakși Ambikā, and the Yaksas Sarvānubhūti and Brahmaśānti. The rendering of the Jivantasvāmī Mahāvīra on the torana-jarghā, and as independent images, Ganesa, and narratives from the lives of the Jinas on the devakulikās also merit attention since they are among the earliest representations of the subjects? The present paper wishes to deal with the iconography of the Mahāvidyās associated with this temple complex where they seem to have occupied a special position. They are significant as the earliest examples of that category. On one side they reveal an iconographic evolution and on the other an almost complete concordance with the prescriptions of the Caturvimsatikā of Bappabhatti sūri (c. late 8th century A. D.) and the Nirvănakalikā of Pādalipta sūri III (c. A. D. 950). Incidentally, the forms of the Svetāmbara Mahāvidyās, in some cases, are practically repeated on the Digambara Jaina temple No. 12 (śāntinātha : A. D. 862) at Deogarh", particularly the iconography

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of Vajraśộnkhala, Apraticakrā, Acchuptā, Vairotyā, and Mahāmānasi. (This happening raises doubt whether the temple had belonged to the Digambara or to the Ksapanaka/ Botika sect of northern Nirgranthism). The Mahāvidyās form a group of Tantric deities. The earliest list of the 16 Mahāvidyās was prepared from a number of different Vidyadevis, in c. ninth-tenth century. The earliest lists are enumerated in the Tijayapahutta of Mānadeva sūri (c. 9th century A. D.), the Samhitāsāra of Indranandi (Digambara: A. D. 939) and the Stuticaturvimšatikā or Sobhana-stuti of Sobhana Muni (c. A. D. 1000). The early Jaina agamas like the Sthānānga, the Aupapātika, the Jñātă-dharma-kathanga and other works like the Paümacariya of Vimala sūri (A. D. 473), the Vasudevahindi of Sanghadāsa gani (c. mid 6th century A. D.) and the Harivaṁsapurāņa of Jinasena of Punnāta gana (Digambara: A. D. 784) also make frequent references to various Vidyās who are personified supernatural powers. But their individual iconographic features for the first time are enunciated in Bappabhatti's Caturvimśatikā? and the Sobhana-stuti. A number of later texts of the Svetāmbara as well as the Digambara sect also deal with the iconography of the 16 Mahavidyās. Unlike the Svetāmbara occurrence of the Mahāvidyās in western India, no corresponding sculpture or painting from the Digambara Church so far has been known, excepting on the facade of the Adinātha temple (c. late 11th century A. D.) at Khajurāho where a series of the 16 Mahavidyās are encountered. (These latter goddesses, crowned by tiny Jina figures and possessing 4 to 8 arms, either seated in lalitāsana or standing in tribhanga, bear various attributes with their respective vähanas. On the basis of the iconographical characteristics, the authors have attempted to suggest possible identification of some of the figures with the Mahavidyās Acchuptā, Vairotyā, Gāndhārī, Mahāmānasi, Gaurī, Apraticakra and Puruşadattā.) So far as the collective rendering of the 16 Mahāvidyās is concerned, only a few examples so far are known at the Śvetāmbara sites, one of them being the śāntinātha temple at Kumbhāriä (Banaskantha, Gujarat : ceilings : A. D. 1077), Vimala vasahi (two sets, one in the rangamandapa ceiling : c A. D. 1150, (Plate 2), and the other in the corridor ceiling of cell No. 41; C. A. D. 1185), Lūna vasahi (rangamandapa ceiling, A. D. 1232) and the Kharatara vasahi (two sets, c. A. D. 1459), all in Delvādā, Mt. Ābū. The figures of the Mahāvidyās at the Mahāvira temple at Osiäñ are either two-or fourarmed, the two-armed figuring more frequently'. However, the figures on the devakulikās also contain the six-armed examples. With the few exceptions of standing figures, the rest are shown seated in lalitasana. The Mahāvidyās, with their specific mounts and attributes, are carved above the eaves of the mukhacatuski, mukhamandapa, and the gudhamandapa of the main temple on one hand and the pitha, the janghá, and the doorways of the devakulikās on the other. Of the 16 Mahāvidyās, the figures of only Rohinī, Vajraísókhalā, Vajrănkuśā, Apraticakrā, Kälī, Mahäkälī, Gaurī, Vairotyā, Acchuptā and Mahāmānasi are represented on the main temple, while the devakulikās include Prajnapti, Naradattā, Gāndhări and Manasi in addition to the forementioned. However, the figures of

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Sarvāstrāmahājvālā and Mänavī are conspicuous by their absence, The first Mahavidyā Rohiņi is represented in Osiāñ by ten examples, two on the Main temple and the remaining on the devakulikās". The goddess, in all examples, is shown four armed and rides a cow. The figures on the main temple hold an arrow (?), abhaya (or vyākhyana-cum-rosary), a bow 12 and a conch (or a kamandalu) (Plate. 3)'3, while those on the devakulikās show the abhaya, an arrow, a bow and a fruit (or a conch). However, in one instance, carved on the doorway of the devakulikā No. 1, she holds an arrow, a sword, a trident and a bow. The Caturvimśatika and the Nirvanakalikä сonceive the four-armed Rohini with a cow as mount, holding as she does an arrow, a rosary, a bow and a conch. It is hence apparent that the carvers have followed the prescriptions of the Śvetārbara texts more faithfully for the devakulika figures.
The second Mahāvidyā, Prajñapti, represented by nine instances 16 (occurring only on the devakulikās), is either two or four-armed. The figure on the devakulika No. 3 is a solitary instance representing the goddess with two arms, riding on a peacock and holding a sūla, her distinguishing attribute, in her right hand. In the remaining instances, she invariably rides a peacock and holds a sakti (spear) in each of her two upper hands and the varada or abhaya-mudra (or a fruit) and a fruit (or a watervessel) in the lower ones. The above-noted figures correspond with the available Śvetāmbara dhyānas wherein Prajñapti, alternatively called Saktikarā, is conceived as riding a peacock and holding varada, sakti, fruit and sakti”? The figure on the doorframe of devakulikā No. 1, perhaps shows the goddess with lotuses in two upper hands. (However, the late work Acaradinakara (A. D. 1412) provides Prajñapti with lotus along with śakti 18.) The third Mahāvidyā Vajraśnkhalā, shown always seated in lalitāsana on a lotus, is represented by seven instances, of which one is carved on the mukhacatuski of the main temple and the remaining on the devakulikās". She is depicted either two- or four-armed. The two-armed figures, represented by only two instances, are carved respectively on the main temple and the vedibandha of the devakulikā No. 2. The goddess in the former case holds a chain and a manuscript20 (Plate 3) while in the latter a long chain (śrnkhalā)-an invariate feature of the goddess in both the hands. The four-armed figures show the abhaya- or varada-mudra and a fruit (or water-vessel) in lower right and left hands while the upper ones carry, as usual, a long chain. The four-armed figures known from Kumbhāriā, Deivādā (Vimala vasahi) and other Śvetāmbara sites likewise bear a long chain in two upper hands, while the lower ones show varada and a fruit, sometimes a mace. The Caturvimsatikā, the Nirvanakalikā, and the Manträdhirajakalpa (c. 15th century A. D.) also visualise Vajraśrnkhalā with a lotus seat, and carrying a long chain (in two hands), the varadamudrā and a lotusal. Vajraśộnkhalā at Osiäñ has a bearing on the iconography of the yakși of Jina Munisuvrata on the temple No. 12 at Deogarh. The four-armed Yaksi, with the appellation 'Sidhai', stands on a lotus and holds a chain, the abhaya-cum

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blossom and a lotus in three hands, while one is resting on thigh. The fourth Mahāvidyā Vajrāńkuśā is represented by six examples, one on the mukhacatuṣki of the main temple and the remaining ones on the devakulikäs. She invariably rides an elephant and possesses either two or four hands. The solitary instance of a two-armed goddess is on the main temple; she shows some mudrá with the right hand while the left holds a water-vessel24. The four-armed goddess shows the abhaya- or varada-mudrä, and holds a thunderbolt, a goad, and a fruit (or watervessel). However, in one case, carved on the doorframe of devakulikā No. 4, the thunderbolt is replaced by a spear. The Śvetāmbara works invariably conceive the goddess as riding on an elephant with an arm in varada, the rest holding a vajra, an ankusa and a fruita. The devakulikā figures, according with the Svetāmbara works, show that the form of the goddess was standardised at the site. The figures in the śāntinātha temple (Kumbhāriā), and in the Vimala vasahi (Delvādā) also portray Vajränkuśā, accompanied by an elephant, with varadaksa, an ankuśa, a vajra and a fruit. The association of elephant together with a goad and a thunderbolt with the goddess at once reminds of the Brahminical matrkā Aindrī. Apraticakrā, also called Cakreśvari, the fifth Mahavidyā, is represented by as many as 13 examples at the site, two on the mukhamandapa and the gūdhamandapa-wall of the main temple and the remaining on the devakulikās26. The goddess is always shown fourarmed and rides a garuda represented in human form27. Barring two examples, where she stands in tribhanga she is always seated in lalitāsana28. The goddess, in conformity with the Svetambara traditiona, usually holds discs (sometimes shown as ring) in all her four hands (Plates 4-5). However, Apraticakrā in the set of 16 Mahāvidyās at the śāntinātha temple, Kumbhāriä, bears the varada, two discs (in two upper hands) and a conch. In two instances at Osiāñ also, carved on the devakulikā Nos. 2 and 4, the disc in lower left hand is replaced by a conch. In a solitary instance, on the devakulika No. 4, the goddess shows the varadākṣa and a water-vessel in the lower right and left hands, while the upper ones carry discs. Still in one other instance, on the doorway of devakulikā No. 4, the goddess holds the varada-mudrā, a mace, an indistinct object, and a conch. The inclusion of mace and conch in addition to the usual disc and the garuda as vāhana, not envisaged by the texts, is reminiscent of Brahminical Vaisnavio (Cakreśvarī, carved on the temple No. 12 at Deogarh as the Yakși of Rsabhanātha, accompanied by garuda, (Plate 6) shows discs in all her four hands which suggests the influence of the Mahavidyā Apraticakră at Osian. (Plates 4-5)31 The sixth Mahāvidya Puruşadattā, or Naradattā, is represented by seven figures on the devakulikās32 She is always shown two-armed with a sole exception, carved on the vedibandha of the south wall of devakulikā No. 4, showing her with four arms. The two-armed goddess, invariably riding a buffalo-her traditional mount-holds a sword and a shield in right and left hands. Sometimes, sword has been replaced by a súla or a cup. The four-armed goddess, however, bears the varada-mudra, a shield, and a water-vessel in her surviving hands. It is rather surprising to find the figures of

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four-armed goddess playing truant, regardless of the textual prescriptions which invariably conceive Purusadattā with four arms and holding the varada- or abhayamudrā, a sword, a fruit and a shield34. However, the Mantrādhirājakalpa visualises her as seated on a red lotus 35.
Kālī, the seventh, is represented by six examples, one on the mukhacatuski of the main temple and the remaining ones on the devakulikās36. The goddess is invariably represented two-armed and is shown seated on a lotus. The figure on the main temple holds a mace in the left hand while the right is resting on thigh. The devakulikā figures, however, carry a mace in the right and abhayāksa (or abhaya-mudrā or a fruit) in the left, sometimes the attributes being juxtaposed37. The Caturvimsatikā conceives Kālī with two arms, sitting on a lotus and holding a mace and a rosary38 The later Svetāmbara texts, however, see her as having four-armed, seated on a lotus and bearing a mace, a rosary, a vajra and the abhaya-mudrā39. The sculptural representations of Kālī at the different Svetāmbara sites reveal that her attributes could never be standardised. Kālī at the Sāntinātha temple, Kumbhāriā, is provided with varadäksa, a noose, a khatvānga, and a fruit, while at the Vimala vasahi she is given a mace, a long spiral lotus, a manuscript, and the abhaya-mudrā. The devakulikā figures at Osian, when compared to the figure of Kālī in the main temple, show that there was no advancement in her iconography at the site. However, the Mantradhirajakalpa" mentions trident and the varada-mudra in place of vajra and the abhaya, which remind of her association with Brahminical Kālī or Śivā. The trident undoubtedly is reminiscent of her Saiva character. Mahākālī, the eighth Mahāvidyā, is represented by nine figures, one on the mukhamandapa of the main temple and the remaining on the devakulikasal. Mahākāli, always four-armed, rides a man and holds the attributes as prescribed by the Svetāmbara works, which invariably see the goddess with nara as vāhana and holding a rosary, a vajra, a ghant, and a fruit. The figure on the main temple holds a vajra, a small sword and a ghantā in three surviving hands (Plate 7), whereas those on the devakulikās bear the abhaya. or varada-mudră, vajra (or a ghanta), a ghantă and a fruit (or a water-vessel)“. Sometimes, a vajra is shown in the lower right hand, while the upper right hand bears a fruit*4. It is apparent from the above-noted details that her iconographic form was settled at the site in the eighth century A. D. which continued in the later centuries without further advancement. Mahākāli in the collective renderings of the Sāntinātha temple, Kumbhāriā, and of the Vimala vasahi is likewise depicted with varadāksa, a vajra, a ghant, and a fruit. The occurrence of gander in case of the figure from the Vimala vasahī, however, is surprising. Gaurī, the ninth among the Mahāvidyās, is represented by five instances, two on the mukhamandapa of the main temple and the remaining ones on the devakulikās4s. The four-armed figure on the mainUltimately, temple rides a bull and bears a fruit, a lotus, a lotus and a kamandalu. The two-armed figure on the main temple shows her with her traditional mount godhā (iguana) and carrying a long-stalked lotus and

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a fruit in right and left hands (Plate 8). However, in the devakulikd examples the goddess is both two and four-armed and always rides an iguana. The two-armed goddess bears long-stalked lotuses in both hands, whereas the four-armed goddess, carved on the devakulika No. 3, carries a lotus, a manuscript and a fruit in three surviving hands. The figures correspond to the Svetämbara texts only in respect of the vahana-iguana-and lotus. The figures on the devakulikās, however, follow the earlier Svetambara tradition enjoined by the Caturvimsatika and the Nirvanakalika, which depict the goddess with iguana and bearing the varada-mudra, a musala (or danda), a lotus and a rosary. One of the figures on the main temple, however, appears to have followed the Manträdhirajakalpa, wherein she is described as riding on a bull". The association of bull with Gauri is reminiscent of Brahminical Siva. This is further reinforced by the instance carved in the rangamandpa ceiling at Vimala vasahi, where the four-armed Gauri is provided with bull and the varadākṣa, lotus (twice) and a fruit as attributes48
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The tenth Mahavidya Gandhari, represented here by four figures", invariably sits on a lotus and possesses two hands. The goddess, in conformity with the Svetambara tradition, holds a vajra and a musala respectively in the right and left hands, which, however, in one example, are juxtaposed. The later works visualise Gändhär! as fourarmed and carrying the varada and the abhaya-mudra in addition to the usual vajra and musala $2
Vairoty, the 13th Mahavidyà, appears to have enjoyed a favoured position in Jainism, who also is conceived as the yakşi of Vimalanatha. The goddess, always shown fourarmed, is represented by eight examples at the site, of which two are carved on the mukhamandapa and the güdhamandapa of the main temple, whereas the remaining ones are on the devakulikās. She invariably rides a snakes. The figure on the mukhamandapa of the main temple bears a sword, two snakes (in two hands) and a shield (Plate 8), while the figure on the gudhamandapa shows a shield and a snake in the upper and lower left arms, with lower right resting on thighs. The devakulikā figures are identical with the figures on the main temple. However, in one solitary instance, carved on the doorway of the devakulika No.1, the goddess holds snake in all her four arms, which is not supported by any of the available dhyanas. It appears that the iconographic form of the goddess was standardised at the site in c. eighth century A. D., which corresponds with the available dhyanas". It is interesting to find that Vairotyä, in the group of the 16 Mahavidyas at the Santinätha temple, Kumbhäriä, also holds the same set of attributes which are noticed in case of the figures of the gudhamandapa of main temple. The example from the rangamandapa ceiling of the Vimala vasahi also shows similar attributes excepting for the fruit substituting a snake. The 14th Mahavidya Acchuptâ, in 11 examples, one on the north façade of the güḍhamandapa and the remaining on the devakulikäs, happens to be one of the most favoured Mahavidyās at the site. Her iconographic form, fully corresponding with the Śvetāmbara tradition 59, was standardised at the site in the eighth century A. D., as is

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evident from the figure of the goddess on the main temple, where the four-armed goddess stands with an arrow (?), a sword, a shield and a bow and the horse carved as her mount alongside (Plate 9). The devakulikā figures exhibit identical details as noticed in case of the main temple (Plate 10), excepting a solitary instance, carved on the doorway of the devakulikā No. 2, where she is depicted as six-armed. Sometimes, the attributes are juxtaposed. In three examples, the lower two arms show abhaya and a fruit (or a water-vessel). However, in one case, carved on the doorway of the devakulikā No. 3, she surprisingly holds rein, which together with the horse is reminiscent of Brahminical demi-god Revanta, son of Mitra. The six-armed figure carries the varada, a sword, an arrow, a shield, a bow and a fruit. The four-armed Acchuptā, in the group of 16 Mahāvidyas in the Säntinātha temple, Kumbhāriā, shows identical attributes as in the figure on main temple. However, the sword and shield are replaced by the varadāksa and a water-vessel in the instance of the rangamandpa ceiling of Vimala vasahi. (The figure of Mahāvidyā Acchuptā at Osiāñ has influenced the form of yakși of Padmaprabha on temple No. 12 at Deogarh, where she is called Sulocanā. Here the four-armed yakşi, accompanied by a horse, holds an arrow and a bow in her two hands61) Mānasī, the 15th Mahāvidyā, is represented by a solitary instance at the site, carved on the northern vedibandha of the devakulika No. 4. The two-armed goddess here rides a hamsa and holds a thunderbolt in the right hand while the corresponding left is resting on thigh. The figure agrees with the tradition in respect of váhana and vajra. The Śvetāmbara works notice her either with two or four arms and invariably riding a hamsa. The goddess, when two-armed, holds varada and a thunderbolta, while the goddess with four arms carries two vajras in two upper hands and the varada and a rosary in the lower ones63. It may be recalled that Mānasi does not find representation on the main temple, simply because the earliest tradition, referring to Mānasi, conceives her as riding a hamsa and holding flames, thus combining the features of the two Mahāvidyās, Manasī and Mahājvālā, in one. The 16th Mahavidyā Mahāmānasi is represented by 12 examples, two over the mukhacatuṣki and the gūdhamandapa of the main temple, while the remaining on the devakulikās6 The goddess thus claims the highest popularity at the site and her form shows greater variety with two, four, or six arms. Like Rohini, Apraticakrā, and Acchuptā, the iconography of Mahāmānasi was settled at the site in c. eighth century A. D., which is revealed by her figures on the main temple. The figures follow the Svetāmbara tradition which conceives the four-armed goddess with a lion as vāhana and holding a sword, a shield, a water-vessel and the abhaya or varada-mudrā (or maņi) The figures on the main temple are four-armed and show the goddess as riding a lion and bearing the abhaya-mudrā, a sword, a shield and a fruit (?)67 Barring two figures, carved on the eastern and southern vedibandha of the devakulikä Nos. 1 and 2 where the vāhana is conspicuous by its absence, all other figures are invariably accompanied by a lion. The two-armed Mahāmānasī, bearing a sword and

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a shield, is represented by two examples. The four-armed goddess, represented as she is by five instances, always rides a lion, excepting a solitary instance, carved on the eastern vedibandha of the devakulikā No. 1, where she sits on a bhadrasana. In conformity with the Svetämbara texts, the goddess shows the abhaya-mudra (or a sword), a sword (or a lotus), a shield and a fruit (or a water-vassel). Mahāmānasī in the collective representation at Vimala vasahi also shows the identical features, excepting for a fruit replaced by a rosary.
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The six-armed figures, represented by three instances, show her as riding a lion and carrying the varada (or abhaya)-mudra, a sword, an arrow, a shield, a bow and a fruit (or a water-vessel). The rendering of the goddess with six arms, not known from any texts, further suggests the exalted position enjoyed by the goddess. (The form of Mahāmānasī at Osian has influenced the rendering of the yakși of Jina Candraprabha, called Sumālinī, at the temple No. 12 at Deogarh (Plate 11). The four-armed yakṣi, joined by a lion as vähana, holds a sword, the abhaya-mudra, a shield in her three. hands, while the lower left is resting on thigh.)
The Jaina Mahavidyās may also be compared with the deities of the Brahminical and Buddhist pantheons so far as their names and iconography are concerned. Mahākālī, Käll, and Gauri claim affinity with the Brahminical goddesses in respect of their names, sometimes attributes also, whereas Prajñapti, Vajrāñkuśā and Apraticakra with Brahminical Matṛkās like Kaumārī, Aindri, and Vaisnavi in respect of iconography. The Mahavidya Gaurī, in point of fact, is identical with the Brahminical Gauri in respect of iconography, who likewise holds lotus and rosary and rides an iguana". Besides, Naradatta (or Purusadattă) has close resemblance with Brahminical Durgā, who bears a sword and a shield and rides a buffalo". Mahavidya Vajraśṛnkhalā, on, the other hand, offers comparison with the Buddhist Vajrasṛnkhala who is conceived as an emanation of Amoghasiddhi". However, the Sadhanamālā visualises Vajrasṛnkhala with three faces and eight arms and holding, besides vajra and vajraśrnkhald, the abhaya, an arrow, the kapala, tarjani-mudra, a noose and a bow. The forms of Sarvästramahājvālā, Mānavī, and Vairotya" perhaps bear some influence of Agni, and tree and snake worship respectively.
From this discussion, it follows that the Mahavidya figures on the main temple of Mahāvīra at Osian reveal a stage of early standardisation of the iconographic form of the principal Mahavidyas, whereas the figures on the devakulikäs show the continuity of earlier tradition with some advancement in iconography. However, the figures on the main temple and the devakulikās mainly concur with the prescriptions of the Caturviṁsatikā and the Nirvanakalikā.
Annotations :
1. For details consult, D. R. Bhandarkar, 'The Temples of Osia,' Annual Report, Archaeological Survey of India, 1908-09, Calcutta 1912, p. 108; also, Percy Brown, Indian Architecture

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(Buddhist and Hindu period), Bombay 1971 (Rep.), p. 135; and Krishna Deva, Temples of North India, New Delhi 1969, p. 31; M. A. Dhaky, 'Some Early Jaina Temples in Western India', Mahāvīra Jaina Vidyalaya Golden Jubilee Volume, Bombay 1968, pp. 312-26. However, L. K. Tripathi dates the Mahāvīra temple to the ninth century A. D. and believes that it was built during the reign of Mihirbhoja (A. D. 836-85). See L. K. Tripathi, Evolution of Temple Architecture in Northern India, unpublished Ph. D. thesis, Banaras Hindu University 1968. (But
stylistically the temple seems earlier.) 2. The northern devakulikās of east and west are numbered as 1 and 2, while the other two are
numbered as 3 on east and 4 on west. The devakulikā attached to the balanaka is number
5. For architectural details, consult Dhaky, "Some Early.," pp. 312-26. 3. For details consult, M. N. P. Tiwari, "Osiäñ se Prapta Jivantasvāmi ki-Aprakāśita Mürtiyan,"
(Hindi), Viśva Bharati, Vol. 14, No. 3, Oct.-Dec. 1973, pp. 215-18; also, "Some Unpublished Jaina Sculptures of Ganesa from Western India," Jain Journal, Vol. IX, No. 3, January 1975, pp. 90-92; and Jaina Pratimă Vijñāna, (Hindi), Varanasi 1981, pp. 93, 132, 134. The figures of the 24 yaksis on the facade of the temple No. 12 (A. D. 862) at Deogarh are the earliest known examples of their collective rendering. The list of the 24 yaksis was available to the artists but their detailed iconography was not yet finalised; hence the artists have borrowed the iconographic features of some of the Mahavidyās, earlier in antiquity than
the yaksis 5. The concept and iconography of the Mahavidyās are older than those of the Yaksas and Yaksis,
also known as Śäsanadevatās, but the latter gained more prominence with the advance in time
because of their close direct association with the Jina conceived in pre-medieval times. 6. For details, consult U. P. Shah, "Iconography of Sixteen Jaina Mahavidyās," Journal of the
Indian Society of Oriental Art, Vol. XV, 1947, pp. 114-21. The final list of the 16 Mahāvidyās supplied by the texts of both the sects, includes the following names : Rohini, Prajñapti, Vajraśộnkhalā, Vajränkuśā, Apraticakrā or Cakreśvari (Svetāmbara) and Jāmbūnada (Digambara), Naradattā or Puruşadattā, kāli or Kālikā, Mahākāli, Gaurī, Gandhari, Sarvāstrā mahājvālā (svetāmbara) and Jvālāmālini (Digambara), Mānavi, Vairotyä (svetāmbara) and Vairoţi (Digambara), Acchuptā (svetāmbara) and Acyută (Digambara), Mānasi and
Mahāmānasi. 7. The text, however, does not refer to Sarvāstrāmahajvala separately and instead the features of
Mānasi and Sarvāstrāmahājvālā have been combined therein with one Mahavidya, called
Mānasi. Thus the text refers to the 15 Mahāviclyas in all. 8. The Nirvanakalikā, the Mantrādhirajakalpa (of Sagaracandra Sūri, c. 15th century A. D.), the
Acāradinakara (of Vardhamana Sūri, A. D. 1412), the Pratisthāsārasamgraha (of Vasunandi, c. 12th century A. D.), the Pratisthasaroddhāra (of Āsādhara, A. D. 1228), and the
Pratisthätilakam (of Nemicandra, A. D. 1543). 9. However, U. P. Shah, in his learned paper on the Jaina Mahāvidyās, has not included the
figures of the Mahavidyās in Osiān.

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Jaina Mahavidyas in Osian
10. These Mahāvidyäs, however, enjoyed a favoured position at other Śvetāmbara sites, namely
Kumbhariä, Vimala Vasahi and Lüna Vasahi (both in Delvādā), and Taranga.
11. The two figures of the main temple are carved respectively on the mukhacatuski and the gūḍhamandapa, whereas those on the devakulikās are on the northern wall of the vedibandha of devakulikā Nos. 2, 3, 4, and their doorways.
12. However, bow in one instance is held in lower left hand while the upper left is resting on thigh.
13. The attributes here and elsewhere are reckoned clockwise starting from the lower right hand. 14. यशोवलक्षा मता
कृताखिलजगज्जनाहित महाबलाक्षामता ।
विनीत जनता विपद् द्विपसमृद्धयभिद्रोहिणी
ममास्तु सुरभिस्थिता रिपुमही श्रभिद्ररोहिणी । —Caturvimsatikā 3.12.
आद्य रोहिणी धवलवण सुरभिवाहनां चतुर्भुजामसूत्राणान्वित
दक्षिणपाणि शङ्खधनुर्युक्तवामपाणि चेति | Nirvänakalikā, p. 37.
15. Rohini, in group of the 16 Mahāvidyās, carved respectively at the śāntinātha temple, Kumbharia and at Vimala Vasahi, Delväḍā is likewise accompanied by a cow and shows the varadākşa, an arrow, a bow and a fruit (or a conch). The respective vāhanas in the former case are conspicuous by their absence.
16. Two figures are carved on the vedibandha of the devakulikā Nos. 3 and 4 while the remaining ones are on the doorways.
17. तन्वाऽब्जमहादलाभया
सह शक्त्या तुलमोदलाभया ।
मम भवतु महाशिखण्डिका
प्रज्ञप्ति रिपुरशिखण्डिका :- Caturvimsatikā 4.16.
प्रज्ञप्ति चेतवर्ण मयूरवाहनां चतुर्भुजां वरदशक्तियुक्तदक्षिणक मातुलिंग शक्तियुक्त वामहस्तां चेति
18. शक्तिसरहहस्ता मयूरकृतपानलीलया कलिता
प्रज्ञप्तिर्विज्ञति शृणोतु नः कमलपत्राभा ।
- Acāradinakara, "Pratisthadhikara, Pt. II, p. 167, Bombay, 1923.
79
20. However, no text conceives her as having a manuscript in hand.
21. संस्मरत रतां कुशेशये
19. Two figures are carved on the vedibandha and the façade of devakulikä Nos. 2 and 3, while the others are on the doorways.
कनकच्छनि दुरिताङ्कुशेशये ।
अहितादिहलाम्
धरमाणामिह वज्रश्रृङ्खलाम् ।-Caturviriśatikā 5.20;
वज्रावदातां पद्मवाहन चतुर्भुजां सान्वितदक्षिणकरां पद्माधिष्ठितवानकरांचेति । -Nirvanakalikā, p. 37;-Manträdhiräjakalpa 3.5.
22. Klaus Bruhn, The Jina Images of Deogarh, Leiden 1969, pp. 103, 106, 108.

--Nirvānakalika, p. 37.

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23. One figure is carved on the northern vedibandha of the devakulika No. 3, while the other ones
are on the doorways. 24. However, the absence of aikusa and vajra, signifying the name Vajrankusa, is indeed
_surprising. 25. अध्यास्त या कनकरुक् सितवारणेशं
वजाङ्कशी पटुतराऽहितवारणे शम् । न ह्येकधैव विजये बहुधा तु सारं वज्राङ्कशं धृतवती विदधातु साऽरम् । —Caturvinsatika 6. 24. वज्राङ्कशां कनकवर्णा गजवाहनां चतुर्भुजां वरदवज्रयुतदक्षिणकरां मातुलिङ्गाङ्कशयुक्तवामहस्तां चेति ।---Nirvanakalika,
p. 37. 26. Of the 11 devakulikā figures, five are on the vedibandha and on the façades of the four
devakulikās, while the remaining ones on the doorways. 27. Garuda, in most of the cases, has been carved in human form with folded hands and legs
suggesting flying posture. Garuda in the case of the gūdhamandapa figure, is standing close
to the goddess. 28. These figures are on the main temple and the devakulikā No. 4. 29. आरूढा गरुडं हेमा-भाऽसमा नाशितारिभिः ।
पायाद् प्रतिचक्रा वो, भासमाना शितारिभिः ।-Caturvimsatika 7. 28. अप्रतिचक्रां तडिद्वर्णा गरुडवाहनां चतुर्भुजां चकचतुष्टयभूषितकरां चेति ।-Nirvānakalika, p. 37. Another Svetambara text, the Mantrādhirajakalpa (3.7), mentions Apraticakra as riding a nara
(man). 30. It is interesting to find the name of Vaisnavidevi, inscribed under the figure of Apraticakra,
in the ceiling of the Mahāvīra temple at Kumbhäriä. 31. Klaus Bruhn, Jina Images., pp. 105, 108. It may be remarked that Cakreśvari as Yaksi is never
conceived with discs in all the four hands. 32. Three figures are on devakulika Nos. 1,3 and 4, while the remaining ones on the doorways. 33. Figures on devakulikā Nos. 1 and 3. 34. भ्रमति भुवि महिष्या याऽऽमहासिन्धु नाना
कृतजिनगृहमालासन्महाऽसि धुनाना । कनकनिभवपुः श्रीरञ्जसा साधिताया रुजतु पुरुषदत्ताऽस्मासु सा साधिताया: ।Caturvirnsatika 10. 40. पुरुषदत्तां कनकावदातां महिषीवाहनां चतुर्भुजां वरदासियुक्तदक्षिणकरां मातुलिङ्गखेटकयुतवामहस्तां चेति ।
- Nirvāņakalikā, p. 37. 35. रक्ताब्जबद्धासनसंस्थितिर्या हेमप्रभा खेटकखड्गहस्ता ।
सबीजपूराभयदानशस्ता नृदत्तनाम्नी दुरितानि हन्तु ।---Mantrādhirajakalpa 3. 8. 36. All the figures are carved on the doorways of devakulikäs. 37. These figures are on the devakulikä Nos. 2 and 3. 38. धत्ते गदाक्षमिह दृक्पतिताञ्जनस्य
कान्ति च या गतवती पतितां जनस्य ।

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आमोदलोलमुखरोपरि पातु काली
पद्मो यदासनमसौ परिपातु काली ।---Caturvimśatikā 16. 64.
39. कालीदेवी कृष्णवणं पद्मासनां चतुर्भुजां अक्षसूत्रगदालंकृतदक्षिणकरां भवामहस्त चेति ।
Jaina Mahavidyās in Osian
42. या सुतिविजिततमाला
Nirvanakalika, p. 37.
However, the Manträdhirājakalpa mentions trisula, rosary, mudgara and the varada.
40. Manrrādhirajakalpa 3.7.
41. Four figures are on the vedibandha of the devakulikā Nos. 2, 3, 4 (two figures) while the remaining ones on the doorways.
पविफलघण्टाक्ष भृल्लसत्ततमाला ।
नृस्था सुषमं तनुता
दसौ महाकाल्यमर्त्य सामन्तनुता । -- Caturvimśatikā 11.44.
महाकाली देवीं तमालवर्णां पुरुषवाहनां चतुर्भुजां अक्षसूत्रवज्रान्वितदक्षिणकरी अभयघण्टालङ्कृतवामभुजां चेति ।
- Nirvanakalika, p. 37.
The sword, present in the figure on the main temple, has not been prescribed by any of the available Śvetambara dhyānas.
43. Caturvimśatikā 17.68; Nirvānakalika, p. 37; ācāradinakara, Pt. II, p. 162. However, the figures sometimes show the varada or fruit in place of a rosary.
44. Figures on the doorways of devakulika Nos. 1 and 5.
45. One figure is on the southern vedibandha of the devakulikā No. 3, while the remaining two are on the doorways of devakulikā Nos. 1 and 4.
46. सौवर्णपट्टा श्रीगौरी श्री गौरी
ग्रहस्तिका ।
हस्तिकाया महागोधाऽऽगोधामध्वस्तयेऽस्तु वः । -- Caturvimsatikā 12.48.
81
गौरी देवी कनकगौरों गोधावाहनां चतुर्भुवां वरदमुसलयुतदक्षिणत्करामक्षमालाकुलपालङ्कृतवामहस्तां चेति ।
उत्तप्तजाम्बूनदमूर्तिकान्तिः ककुद्मवाहाभिरता वराङ्गी ।
अब्जक्षमालावरदण्डहस्ता गौरीति देवी दुरितानि हन्तु :- Mantrādhirājakalpa 3. 11.
47. Mantrādhirājakalpa 3. 11.
48. The four-armed Gauri, in the group of the 16 Mahāvidyās at Santinātha temple, Kumbhāria, carries the varadāksa, a mace (or a musala), a long stalked lotus and a fruit.

Nirvanakalika, p. 37.
49. Two figures are carved on the vedibandha of the devakulikā Nos. 2 and 3, while the remaining two are on the doorways of the devakulikā Nos. 1 and 5.
50. पविमुसलकरा लाभ
शुभं किमादधिवसन्त्यतिकरालाभम् कमलं रागान्धारी
रणकृत्रीलप्रभोत्करा गान्धारी
Caturvirniarika 13. 52.
51. On the northern vedibandha of devakulikā No. 2.
52. गान्धारी देवीं नीलवणां कमलासनां चतुर्भुजां वरदमुसलयुतदक्षिणकरां अभयकुलिशयुतवामहस्तां चेति ।

Nirvanakalika, p. 37.

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53. Two figures are on the vedibandha of devakulikā Nos. 2 and 4, while the remaining ones are
on the doorways. 54. Sometimes snake is represented with human bust and canopy overhead. However, the figure
of the main temple (mukhamandapa) shows two snakes, both with hunan busts and their
lower portions resembling a snake with inter-woven coils. 55. The upper right hand is damaged. 56. Sometimes, sword is replaced either by the varada or a fruit. 57. श्यामानागास्नपत्रा वो वैरोट्याऽरं भयेऽवतु ।
शान्तोऽरातिर्ययाऽत्युन - वैरोऽट्यारम्भयेव तु । Caturviunsatika 18. 72. वैरोट्यां श्यामवर्णां अजगरवाहनां चतुर्भुजां खड्गोरगालंकृतदक्षिणकरां खेटकाहियुतवामकसं चेति ।
-Nirvānakalikā, p. 37. विहङ्गराजासनबद्धसंस्था पयोधरामा भुजगेन्द्रपत्नी । फणेन्द्रयुग्मासिसुखेटकाङ्का वैरोट्यदेवी दुरितानि हन्तु ।-Mantrādhirajakalpa 3. 15.
The Mantradhirājakalpa provides garuda (vihangarāja) as vāhana and snake canopy overhead. 58. Three figures are carved on the vedibandha of the devakulikā Nos. 1, 2 and 4, while the
remaining ones are on the doorways. 59. साऽच्छुप्ताऽव्याद् गौरी
ह वाजिना याति या नमस्यन्ती । द्वैषमसिकार्मुकजिता - ऽऽहवाजिनायात्तियानमस्यन्ती । -Catuurvimsatika 21. 84. अच्छुमा तडिद्वर्णा तुरगवाहनां चतुर्भुजां खड्गबाणयुतदक्षिणकरां खेटक्सहियुतवामकरां चेति ।-Nirvanakalika, p. 37. तुरङ्गवाहा सितनित्यकाया खड्गसिपत्रीशरखेटकाङ्का । या जातरूपप्रतिजातरूपा अच्छुसदेवी दुरितानि हन्तु !-Mantrādhirajakalpa 3. 16. सव्यपाणिधृत कार्मुक स्फरान्यस्फुर द्विशिखखड्गधारिणी।
विद्युदाभतनुरश्ववाहनाऽच्छुप्तिका भगवती ददातु शम् !--Acāradinakara, p. 162. 60. J. N. Banerjea, The Development of Hindu Iconography, Calcutta, 1956, p. 442. 61. Klaus Bruhn, The Jina Images., pp. 104, 107, 108. 62. हंसासनसमासीना वरदेन्द्रायुधान्विता ।
मानसी मानसी पीडां हन्तु जाम्बूनदच्छवि: HAcaradinakara, p. 162. 63. मानसीं धवलवर्णां हंसवाहनां चतुर्भुजां वरदवजालङ्कृतदक्षिणकर
अक्षवलयाशनियुक्तवामकरां चेति ।-Nirvānakalika, p. 37. 64, निजाङ्गलतयोज्ज्वला विशदबन्धु जीवामया
सिताङ्गविहगा हतानमदबन्धु जीवाऽभया । ज्वलज्ज्वलनहेतिका हरतु मानसीतापदं
शुभाति शयद्यान्यवृद्धनुपमानसीता पद्म ।-Caturvimsatika 14.56. 65. Five figures are on the vedibandha of the devakulika Nos. 1, 2, 3, and 4 (two figures), while
the remaining ones are on the doorways.

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1. Osiān, Mahāvīra temple.
[c. A. D. 783-92]
2. Delvadā (Mt. Abu)., Vimala Vasahi temple. Ceiling, six Mahāvidyās.
[Courtesy : Archaeological Survey of India]

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3. Osian, Mahāvīra temple. Mukhamandapa, above the cornice, from left,
Mahāvidyās Vajraírňkhalā and Rohini in panels. [Courtesy : American Institute of Indian Studies, Gurgāom.]
Osiañ, Mahāvīra temple. Gūdhmandapa, Apraticakrā. [Courtesy : M. A. Dhaky]

fivate & Person Use Only

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Mukhmandapa, Apraticakrā. 5. Osian, Mahāvīra temple.

6. Devgadh, M. P., Jaina temple group,
temple 12. Yaksi Cakreśvarī. [Copy-right author]
www.jainelibrary

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7. Osian, Mahāvīra temple. Mukhmandapa, above the cornice, from left, Mahāvidyās
Apraticakra and Mahākäli. [Courtesy : A.I.I.S., Gurgãoń.]
left,
8. Osian, Mahāvīra temple. Mukhmandapa, above the cornice, from
Mahāvidyās Gauri and Vairotyā with Sarasvati. [Courtesy : M. A. Dhaky]
ain Education International
www.janeling

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MAL
9. Osian, Mahāvīra temple. Gudhmandapa, Acchuptă. [Courtesy: A.I.I.S., Gurgaon.].

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10. Osian, Mahāvīra temple. Devkulikā No. 1, Acchuptă.

Deogarh, temple no. 12. Yakṣi Sumālinī.
anelibrary.

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Vol. III, 1997-2002 Jaina Mahavidyas in Osian 83 66. असिफलकमणि श्रीकुण्डिका हस्तिकाऽलं प्रबलरिपुवनानां कुण्डिका हस्तिकालम् / मृगपतिमधिरूढा सा महामानसी माHag YATEG14SHIHET HH14 1--Caturvimsatika 15. 60. महामानसी धवलवर्णा सिंहवाहनां चतुर्भुजां वरदासियुक्तदक्षिणकरां कुण्डिकाफलकयुतवामहस्तां चेति / - Nirvanakalika, p. 37. सारङ्गसंस्था हिमरोचिराभा भृङ्गारखड्गाभयखेटकाङ्का / st H14 ufq mela yat Hi daai graf ET !--Mantradhirajakalpa 3. 18. The Caturvimsatika gives mani (or ratna) in place of varada or abhaya. 67. The object in the lower left hand, in case of the gudhamandapa figure, is indistinct. 68. These figures are on the northern vedibandha of devakulika No. 4 and the door-lintels of the devakulika Nos. 2 and 4. 69. Klaus Bruhn, The Jaina., pp. 104, 107, 108. 70. Jaina Mahakali appears to have combined the features of the two Brahminical goddesses Camunda and Mahakali. See Gopinatha Rao, Elements of Hindu Iconography, Vol. I, Part II, Varanasi (Rep.) 1971, pp. 358, 386. The Jainas have adopted the names, and sometimes features also, of the Brahminical goddesses like Kali, Mahakali and Camunda, all terrific in appearance, for the Mahavidyas. But nowhere the Mahavidyas are visualised in terrific form. 71. Gopinatha Rao, Elements., p. 360; U. P. Shah, Iconography., p. 148. 72. Shah, P. 140; Rao, pp. 341-42. 73. B. Bhattacharyya, The Indian Buddhist Iconography, Calcutta, 1968 (Rep.), p. 235; and Shah, pp. 129-30. 74. The Yaksa-Yaksi pair of Jina Parsvanatha is also associated with snake. Photo Credit : Plates 4, 5, 8, M. A. Dhaky (Varanasi/Ahmedabad); Plates 3, 7, 8, American Institute of Indian studies, Varanasi; Plate 2, Archaeological Survey of India, New Delhi.