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 MAHAVIDYAS IN OSIAN Maruti Nandan Prasad Tiwari and Kamal Giri Osian (District Jodhpur, Rajasthan) was an important Pratihara township with several early temples, of which 13 are today extant. Besides several Brahminical temples, the site has a Jaina temple, dedicated to Jina Mahavira 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 Vatsaraja Pratihara (A. D. 783-92)'. The temple complex faces north and rests on a vast jagati. It comprises mukhamandapa (forehall) with a mukhacatuski (porch), gudhamandapa (closed hall), and mulaprasada (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 devakulika 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 devakulikas datable to the first half of the 11th century A. D.2 The Jaina buildings at the site are the products exclusively of the Svetarbara 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 Mahavidyas, Yaksas like Parsva, Sarvanubhuti and Varuna, Yaksis like Ambika amd Padmavati, and the Asta-Dikpalas, as also Sarasvati and Mahalaksmi. The medieval torana and the five devakulikas likewise illustrate Mahavidyas, Asta-Dikpalas, Yaksi Ambika, and the Yaksas Sarvanubhuti and Brahmasanti. The rendering of the Jivantasvami Mahavira on the torana-jargha, and as independent images, Ganesa, and narratives from the lives of the Jinas on the devakulikas also merit attention since they are among the earliest representations of the subjects? The present paper wishes to deal with the iconography of the Mahavidyas 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 Caturvimsatika of Bappabhatti suri (c. late 8th century A. D.) and the Nirvanakalika of Padalipta suri III (c. A. D. 950). Incidentally, the forms of the Svetambara Mahavidyas, in some cases, are practically repeated on the Digambara Jaina temple No. 12 (santinatha : A. D. 862) at Deogarh", particularly the iconography

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Vol. III, 1997-2002 Jaina Mahavidyas in Osian 71 of Vajrasonkhala, Apraticakra, Acchupta, Vairotya, and Mahamanasi. (This happening raises doubt whether the temple had belonged to the Digambara or to the Ksapanaka/ Botika sect of northern Nirgranthism). The Mahavidyas form a group of Tantric deities. The earliest list of the 16 Mahavidyas was prepared from a number of different Vidyadevis, in c. ninth-tenth century. The earliest lists are enumerated in the Tijayapahutta of Manadeva suri (c. 9th century A. D.), the Samhitasara of Indranandi (Digambara: A. D. 939) and the Stuticaturvimsatika or Sobhana-stuti of Sobhana Muni (c. A. D. 1000). The early Jaina agamas like the Sthananga, the Aupapatika, the Jnata-dharma-kathanga and other works like the Paumacariya of Vimala suri (A. D. 473), the Vasudevahindi of Sanghadasa gani (c. mid 6th century A. D.) and the Harivamsapurana of Jinasena of Punnata gana (Digambara: A. D. 784) also make frequent references to various Vidyas who are personified supernatural powers. But their individual iconographic features for the first time are enunciated in Bappabhatti's Caturvimsatika? and the Sobhana-stuti. A number of later texts of the Svetambara as well as the Digambara sect also deal with the iconography of the 16 Mahavidyas. Unlike the Svetambara occurrence of the Mahavidyas in western India, no corresponding sculpture or painting from the Digambara Church so far has been known, excepting on the facade of the Adinatha temple (c. late 11th century A. D.) at Khajuraho where a series of the 16 Mahavidyas are encountered. (These latter goddesses, crowned by tiny Jina figures and possessing 4 to 8 arms, either seated in lalitasana or standing in tribhanga, bear various attributes with their respective vahanas. On the basis of the iconographical characteristics, the authors have attempted to suggest possible identification of some of the figures with the Mahavidyas Acchupta, Vairotya, Gandhari, Mahamanasi, Gauri, Apraticakra and Purusadatta.) So far as the collective rendering of the 16 Mahavidyas is concerned, only a few examples so far are known at the Svetambara sites, one of them being the santinatha temple at Kumbharia (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), Luna vasahi (rangamandapa ceiling, A. D. 1232) and the Kharatara vasahi (two sets, c. A. D. 1459), all in Delvada, Mt. Abu. The figures of the Mahavidyas at the Mahavira temple at Osian are either two-or fourarmed, the two-armed figuring more frequently'. However, the figures on the devakulikas also contain the six-armed examples. With the few exceptions of standing figures, the rest are shown seated in lalitasana. The Mahavidyas, 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 jangha, and the doorways of the devakulikas on the other. Of the 16 Mahavidyas, the figures of only Rohini, Vajraisokhala, Vajrankusa, Apraticakra, Kali, Mahakali, Gauri, Vairotya, Acchupta and Mahamanasi are represented on the main temple, while the devakulikas include Prajnapti, Naradatta, Gandhari and Manasi in addition to the forementioned. However, the figures of

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72 Maruti Nandan.... Nirgrantha Sarvastramahajvala and Manavi are conspicuous by their absence, The first Mahavidya Rohini is represented in Osian by ten examples, two on the Main temple and the remaining on the devakulikas". The goddess, in all examples, is shown four armed and rides a cow. The figures on the main temple hold an arrow (?), abhaya (or vyakhyana-cum-rosary), a bow 12 and a conch (or a kamandalu) (Plate. 3)'3, while those on the devakulikas show the abhaya, an arrow, a bow and a fruit (or a conch). However, in one instance, carved on the doorway of the devakulika No. 1, she holds an arrow, a sword, a trident and a bow. The Caturvimsatika and the Nirvanakalika sonceive 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 Svetarbara texts more faithfully for the devakulika figures. The second Mahavidya, Prajnapti, represented by nine instances 16 (occurring only on the devakulikas), 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 sula, 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 Svetambara dhyanas wherein Prajnapti, alternatively called Saktikara, is conceived as riding a peacock and holding varada, sakti, fruit and sakti"? The figure on the doorframe of devakulika No. 1, perhaps shows the goddess with lotuses in two upper hands. (However, the late work Acaradinakara (A. D. 1412) provides Prajnapti with lotus along with sakti 18.) The third Mahavidya Vajrasnkhala, shown always seated in lalitasana 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 devakulikas". 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 devakulika No. 2. The goddess in the former case holds a chain and a manuscript20 (Plate 3) while in the latter a long chain (srnkhala)-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 Kumbharia, Deivada (Vimala vasahi) and other Svetambara sites likewise bear a long chain in two upper hands, while the lower ones show varada and a fruit, sometimes a mace. The Caturvimsatika, the Nirvanakalika, and the Mantradhirajakalpa (c. 15th century A. D.) also visualise Vajrasrnkhala with a lotus seat, and carrying a long chain (in two hands), the varadamudra and a lotusal. Vajrasonkhala at Osian has a bearing on the iconography of the yaksi 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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Vol. III, 1997-2002 Jaina Mahavidyas in Osian blossom and a lotus in three hands, while one is resting on thigh. The fourth Mahavidya Vajrankusa is represented by six examples, one on the mukhacatuski of the main temple and the remaining ones on the devakulikas. 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 mudra with the right hand while the left holds a water-vessel24. The four-armed goddess shows the abhaya- or varada-mudra, and holds a thunderbolt, a goad, and a fruit (or watervessel). However, in one case, carved on the doorframe of devakulika No. 4, the thunderbolt is replaced by a spear. The Svetambara 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 devakulika figures, according with the Svetambara works, show that the form of the goddess was standardised at the site. The figures in the santinatha temple (Kumbharia), and in the Vimala vasahi (Delvada) also portray Vajrankusa, accompanied by an elephant, with varadaksa, an ankusa, 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 matrka Aindri. Apraticakra, also called Cakresvari, the fifth Mahavidya, is represented by as many as 13 examples at the site, two on the mukhamandapa and the gudhamandapa-wall of the main temple and the remaining on the devakulikas26. 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 lalitasana28. The goddess, in conformity with the Svetambara traditiona, usually holds discs (sometimes shown as ring) in all her four hands (Plates 4-5). However, Apraticakra in the set of 16 Mahavidyas at the santinatha temple, Kumbharia, bears the varada, two discs (in two upper hands) and a conch. In two instances at Osian also, carved on the devakulika 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 varadaksa 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 devakulika No. 4, the goddess holds the varada-mudra, a mace, an indistinct object, and a conch. The inclusion of mace and conch in addition to the usual disc and the garuda as vahana, not envisaged by the texts, is reminiscent of Brahminical Vaisnavio (Cakresvari, carved on the temple No. 12 at Deogarh as the Yaksi of Rsabhanatha, accompanied by garuda, (Plate 6) shows discs in all her four hands which suggests the influence of the Mahavidya Apraticakra at Osian. (Plates 4-5)31 The sixth Mahavidya Purusadatta, or Naradatta, is represented by seven figures on the devakulikas32 She is always shown two-armed with a sole exception, carved on the vedibandha of the south wall of devakulika 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 sula 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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74 Maruti Nandan.... Nirgrantha four-armed goddess playing truant, regardless of the textual prescriptions which invariably conceive Purusadatta with four arms and holding the varada- or abhayamudra, a sword, a fruit and a shield34. However, the Mantradhirajakalpa visualises her as seated on a red lotus 35. Kali, the seventh, is represented by six examples, one on the mukhacatuski of the main temple and the remaining ones on the devakulikas36. 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 devakulika figures, however, carry a mace in the right and abhayaksa (or abhaya-mudra or a fruit) in the left, sometimes the attributes being juxtaposed37. The Caturvimsatika conceives Kali with two arms, sitting on a lotus and holding a mace and a rosary38 The later Svetambara texts, however, see her as having four-armed, seated on a lotus and bearing a mace, a rosary, a vajra and the abhaya-mudra39. The sculptural representations of Kali at the different Svetambara sites reveal that her attributes could never be standardised. Kali at the Santinatha temple, Kumbharia, is provided with varadaksa, a noose, a khatvanga, and a fruit, while at the Vimala vasahi she is given a mace, a long spiral lotus, a manuscript, and the abhaya-mudra. The devakulika figures at Osian, when compared to the figure of Kali 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 Kali or Siva. The trident undoubtedly is reminiscent of her Saiva character. Mahakali, the eighth Mahavidya, is represented by nine figures, one on the mukhamandapa of the main temple and the remaining on the devakulikasal. Mahakali, always four-armed, rides a man and holds the attributes as prescribed by the Svetambara works, which invariably see the goddess with nara as vahana 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 ghanta in three surviving hands (Plate 7), whereas those on the devakulikas bear the abhaya. or varada-mudra, vajra (or a ghanta), a ghanta 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. Mahakali in the collective renderings of the Santinatha temple, Kumbharia, and of the Vimala vasahi is likewise depicted with varadaksa, a vajra, a ghant, and a fruit. The occurrence of gander in case of the figure from the Vimala vasahi, however, is surprising. Gauri, the ninth among the Mahavidyas, is represented by five instances, two on the mukhamandapa of the main temple and the remaining ones on the devakulikas4s. 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 godha (iguana) and carrying a long-stalked lotus and

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Vol. III, 1997-2002 Jaina Mahavidyas in Osian 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 Svetambara texts only in respect of the vahana-iguana-and lotus. The figures on the devakulikas, 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 Mantradhirajakalpa, 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 varadaksa, lotus (twice) and a fruit as attributes48 75 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 Gandhar! as fourarmed and carrying the varada and the abhaya-mudra in addition to the usual vajra and musala $2 Vairoty, the 13th Mahavidya, appears to have enjoyed a favoured position in Jainism, who also is conceived as the yaksi 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 gudhamandapa of the main temple, whereas the remaining ones are on the devakulikas. 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 devakulika 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 Vairotya, in the group of the 16 Mahavidyas at the Santinatha temple, Kumbharia, 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 Acchupta, in 11 examples, one on the north facade of the gudhamandapa and the remaining on the devakulikas, happens to be one of the most favoured Mahavidyas at the site. Her iconographic form, fully corresponding with the Svetambara tradition 59, was standardised at the site in the eighth century A. D., as is

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76 Maruti Nandan.... Nirgrantha 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 devakulika figures exhibit identical details as noticed in case of the main temple (Plate 10), excepting a solitary instance, carved on the doorway of the devakulika 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 devakulika 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 Acchupta, in the group of 16 Mahavidyas in the Santinatha temple, Kumbharia, shows identical attributes as in the figure on main temple. However, the sword and shield are replaced by the varadaksa and a water-vessel in the instance of the rangamandpa ceiling of Vimala vasahi. (The figure of Mahavidya Acchupta at Osian has influenced the form of yaksi of Padmaprabha on temple No. 12 at Deogarh, where she is called Sulocana. Here the four-armed yaksi, accompanied by a horse, holds an arrow and a bow in her two hands61) Manasi, the 15th Mahavidya, 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 vahana and vajra. The Svetambara 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 Manasi does not find representation on the main temple, simply because the earliest tradition, referring to Manasi, conceives her as riding a hamsa and holding flames, thus combining the features of the two Mahavidyas, Manasi and Mahajvala, in one. The 16th Mahavidya Mahamanasi is represented by 12 examples, two over the mukhacatuski and the gudhamandapa of the main temple, while the remaining on the devakulikas6 The goddess thus claims the highest popularity at the site and her form shows greater variety with two, four, or six arms. Like Rohini, Apraticakra, and Acchupta, the iconography of Mahamanasi 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 Svetambara tradition which conceives the four-armed goddess with a lion as vahana and holding a sword, a shield, a water-vessel and the abhaya or varada-mudra (or mani) The figures on the main temple are four-armed and show the goddess as riding a lion and bearing the abhaya-mudra, a sword, a shield and a fruit (?)67 Barring two figures, carved on the eastern and southern vedibandha of the devakulika Nos. 1 and 2 where the vahana is conspicuous by its absence, all other figures are invariably accompanied by a lion. The two-armed Mahamanasi, bearing a sword and

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Vol. III, 1997-2002 Jaina Mahavidyas in Osian 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 devakulika No. 1, where she sits on a bhadrasana. In conformity with the Svetambara texts, the goddess shows the abhaya-mudra (or a sword), a sword (or a lotus), a shield and a fruit (or a water-vassel). Mahamanasi in the collective representation at Vimala vasahi also shows the identical features, excepting for a fruit replaced by a rosary. 77 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 Mahamanasi at Osian has influenced the rendering of the yaksi of Jina Candraprabha, called Sumalini, at the temple No. 12 at Deogarh (Plate 11). The four-armed yaksi, joined by a lion as vahana, holds a sword, the abhaya-mudra, a shield in her three. hands, while the lower left is resting on thigh.) The Jaina Mahavidyas may also be compared with the deities of the Brahminical and Buddhist pantheons so far as their names and iconography are concerned. Mahakali, Kall, and Gauri claim affinity with the Brahminical goddesses in respect of their names, sometimes attributes also, whereas Prajnapti, Vajrankusa and Apraticakra with Brahminical Matrkas like Kaumari, Aindri, and Vaisnavi in respect of iconography. The Mahavidya Gauri, 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 Purusadatta) has close resemblance with Brahminical Durga, who bears a sword and a shield and rides a buffalo". Mahavidya Vajrasrnkhala, on, the other hand, offers comparison with the Buddhist Vajrasrnkhala who is conceived as an emanation of Amoghasiddhi". However, the Sadhanamala visualises Vajrasrnkhala with three faces and eight arms and holding, besides vajra and vajrasrnkhald, the abhaya, an arrow, the kapala, tarjani-mudra, a noose and a bow. The forms of Sarvastramahajvala, Manavi, 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 Mahavira at Osian reveal a stage of early standardisation of the iconographic form of the principal Mahavidyas, whereas the figures on the devakulikas show the continuity of earlier tradition with some advancement in iconography. However, the figures on the main temple and the devakulikas mainly concur with the prescriptions of the Caturvimsatika and the Nirvanakalika. 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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78 Maruti Nandan.... Nirgrantha (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', Mahavira Jaina Vidyalaya Golden Jubilee Volume, Bombay 1968, pp. 312-26. However, L. K. Tripathi dates the Mahavira 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 devakulikas 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 devakulika 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, "Osian se Prapta Jivantasvami ki-Aprakasita Murtiyan," (Hindi), Visva 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 Pratima Vijnana, (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 Mahavidyas, earlier in antiquity than the yaksis 5. The concept and iconography of the Mahavidyas are older than those of the Yaksas and Yaksis, also known as Sasanadevatas, 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 Mahavidyas," Journal of the Indian Society of Oriental Art, Vol. XV, 1947, pp. 114-21. The final list of the 16 Mahavidyas supplied by the texts of both the sects, includes the following names : Rohini, Prajnapti, Vajrasonkhala, Vajrankusa, Apraticakra or Cakresvari (Svetambara) and Jambunada (Digambara), Naradatta or Purusadatta, kali or Kalika, Mahakali, Gauri, Gandhari, Sarvastra mahajvala (svetambara) and Jvalamalini (Digambara), Manavi, Vairotya (svetambara) and Vairoti (Digambara), Acchupta (svetambara) and Acyuta (Digambara), Manasi and Mahamanasi. 7. The text, however, does not refer to Sarvastramahajvala separately and instead the features of Manasi and Sarvastramahajvala have been combined therein with one Mahavidya, called Manasi. Thus the text refers to the 15 Mahaviclyas in all. 8. The Nirvanakalika, the Mantradhirajakalpa (of Sagaracandra Suri, c. 15th century A. D.), the Acaradinakara (of Vardhamana Suri, A. D. 1412), the Pratisthasarasamgraha (of Vasunandi, c. 12th century A. D.), the Pratisthasaroddhara (of Asadhara, A. D. 1228), and the Pratisthatilakam (of Nemicandra, A. D. 1543). 9. However, U. P. Shah, in his learned paper on the Jaina Mahavidyas, has not included the figures of the Mahavidyas in Osian.

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Vol. III, 1997-2002 Jaina Mahavidyas in Osian 10. These Mahavidyas, however, enjoyed a favoured position at other Svetambara sites, namely Kumbharia, Vimala Vasahi and Luna Vasahi (both in Delvada), and Taranga. 11. The two figures of the main temple are carved respectively on the mukhacatuski and the gudhamandapa, whereas those on the devakulikas are on the northern wall of the vedibandha of devakulika 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. yazovalakSA matA kRtAkhilajagajjanAhita mahAbalAkSAmatA / vinIta janatA vipad dvipasamRddhayabhidrohiNI mamAstu surabhisthitA ripumahI zrabhidrarohiNI / --Caturvimsatika 3.12. Adya rohiNI dhavalavaNa surabhivAhanAM caturbhujAmasUtrANAnvita dakSiNapANi zaGkhadhanuryuktavAmapANi ceti | Nirvanakalika, p. 37. 15. Rohini, in group of the 16 Mahavidyas, carved respectively at the santinatha temple, Kumbharia and at Vimala Vasahi, Delvada is likewise accompanied by a cow and shows the varadaksa, an arrow, a bow and a fruit (or a conch). The respective vahanas in the former case are conspicuous by their absence. 16. Two figures are carved on the vedibandha of the devakulika Nos. 3 and 4 while the remaining ones are on the doorways. 17. tanvA'bjamahAdalAbhayA saha zaktyA tulamodalAbhayA / mama bhavatu mahAzikhaNDikA prajJapti ripurazikhaNDikA :- Caturvimsatika 4.16. prajJapti cetavarNa mayUravAhanAM caturbhujAM varadazaktiyuktadakSiNaka mAtuliMga zaktiyukta vAmahastAM ceti 18. zaktisarahahastA mayUrakRtapAnalIlayA kalitA prajJaptirvijJati zRNotu naH kamalapatrAbhA / - Acaradinakara, "Pratisthadhikara, Pt. II, p. 167, Bombay, 1923. 79 20. However, no text conceives her as having a manuscript in hand. 21. saMsmarata ratAM kuzezaye 19. Two figures are carved on the vedibandha and the facade of devakulika Nos. 2 and 3, while the others are on the doorways. kanakacchani duritAGkuzezaye / ahitAdihalAm dharamANAmiha vajrazrRGkhalAm / -Caturvirisatika 5.20; vajrAvadAtAM padmavAhana caturbhujAM sAnvitadakSiNakarAM padmAdhiSThitavAnakarAMceti / -Nirvanakalika, p. 37;-Mantradhirajakalpa 3.5. 22. Klaus Bruhn, The Jina Images of Deogarh, Leiden 1969, pp. 103, 106, 108. --Nirvanakalika, p. 37.

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80 Maruti Nandan.... Nirgrantha 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. adhyAsta yA kanakaruk sitavAraNezaM vajAGkazI paTutarA'hitavAraNe zam / na hyekadhaiva vijaye bahudhA tu sAraM vajrAGkazaM dhRtavatI vidadhAtu sA'ram / --Caturvinsatika 6. 24. vajrAGkazAM kanakavarNA gajavAhanAM caturbhujAM varadavajrayutadakSiNakarAM mAtuliGgAGkazayuktavAmahastAM ceti / ---Nirvanakalika, p. 37. 26. Of the 11 devakulika figures, five are on the vedibandha and on the facades of the four devakulikas, 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 gudhamandapa figure, is standing close to the goddess. 28. These figures are on the main temple and the devakulika No. 4. 29. ArUDhA garuDaM hemA-bhA'samA nAzitAribhiH / pAyAd praticakrA vo, bhAsamAnA zitAribhiH / -Caturvimsatika 7. 28. apraticakrAM taDidvarNA garuDavAhanAM caturbhujAM cakacatuSTayabhUSitakarAM ceti / -Nirvanakalika, p. 37. Another Svetambara text, the Mantradhirajakalpa (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 Mahavira temple at Kumbharia. 31. Klaus Bruhn, Jina Images., pp. 105, 108. It may be remarked that Cakresvari 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 devakulika Nos. 1 and 3. 34. bhramati bhuvi mahiSyA yA''mahAsindhu nAnA kRtajinagRhamAlAsanmahA'si dhunAnA / kanakanibhavapuH zrIraJjasA sAdhitAyA rujatu puruSadattA'smAsu sA sAdhitAyA: / Caturvirnsatika 10. 40. puruSadattAM kanakAvadAtAM mahiSIvAhanAM caturbhujAM varadAsiyuktadakSiNakarAM mAtuliGgakheTakayutavAmahastAM ceti / - Nirvanakalika, p. 37. 35. raktAbjabaddhAsanasaMsthitiryA hemaprabhA kheTakakhaDgahastA / sabIjapUrAbhayadAnazastA nRdattanAmnI duritAni hantu / ---Mantradhirajakalpa 3. 8. 36. All the figures are carved on the doorways of devakulikas. 37. These figures are on the devakulika Nos. 2 and 3. 38. dhatte gadAkSamiha dRkpatitAJjanasya kAnti ca yA gatavatI patitAM janasya /

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Vol. III, 1997-2002 Amodalolamukharopari pAtu kAlI padmo yadAsanamasau paripAtu kAlI / ---Caturvimsatika 16. 64. 39. kAlIdevI kRSNavaNaM padmAsanAM caturbhujAM akSasUtragadAlaMkRtadakSiNakarAM bhavAmahasta ceti / Jaina Mahavidyas in Osian 42. yA sutivijitatamAlA Nirvanakalika, p. 37. However, the Mantradhirajakalpa mentions trisula, rosary, mudgara and the varada. 40. Manrradhirajakalpa 3.7. 41. Four figures are on the vedibandha of the devakulika Nos. 2, 3, 4 (two figures) while the remaining ones on the doorways. paviphalaghaNTAkSa bhRllasattatamAlA / nRsthA suSamaM tanutA dasau mahAkAlyamartya sAmantanutA / -- Caturvimsatika 11.44. mahAkAlI devIM tamAlavarNAM puruSavAhanAM caturbhujAM akSasUtravajrAnvitadakSiNakarI abhayaghaNTAlaGkRtavAmabhujAM ceti / - Nirvanakalika, p. 37. The sword, present in the figure on the main temple, has not been prescribed by any of the available Svetambara dhyanas. 43. Caturvimsatika 17.68; Nirvanakalika, p. 37; acaradinakara, 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 devakulika No. 3, while the remaining two are on the doorways of devakulika Nos. 1 and 4. 46. sauvarNapaTTA zrIgaurI zrI gaurI grahastikA / hastikAyA mahAgodhA''godhAmadhvastaye'stu vaH / -- Caturvimsatika 12.48. 81 gaurI devI kanakagauroM godhAvAhanAM caturbhuvAM varadamusalayutadakSiNatkarAmakSamAlAkulapAlaGkRtavAmahastAM ceti / uttaptajAmbUnadamUrtikAntiH kakudmavAhAbhiratA varAGgI / abjakSamAlAvaradaNDahastA gaurIti devI duritAni hantu :- Mantradhirajakalpa 3. 11. 47. Mantradhirajakalpa 3. 11. 48. The four-armed Gauri, in the group of the 16 Mahavidyas at Santinatha temple, Kumbharia, carries the varadaksa, 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 devakulika Nos. 2 and 3, while the remaining two are on the doorways of the devakulika Nos. 1 and 5. 50. pavimusalakarA lAbha zubhaM kimAdadhivasantyatikarAlAbham kamalaM rAgAndhArI raNakRtrIlaprabhotkarA gAndhArI Caturvirniarika 13. 52. 51. On the northern vedibandha of devakulika No. 2. 52. gAndhArI devIM nIlavaNAM kamalAsanAM caturbhujAM varadamusalayutadakSiNakarAM abhayakulizayutavAmahastAM ceti / Nirvanakalika, p. 37.

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82 Maruti Nandan.... Nirgrantha 53. Two figures are on the vedibandha of devakulika 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. zyAmAnAgAsnapatrA vo vairoTyA'raM bhaye'vatu / zAnto'rAtiryayA'tyuna - vairo'TyArambhayeva tu / Caturviunsatika 18. 72. vairoTyAM zyAmavarNAM ajagaravAhanAM caturbhujAM khaDgoragAlaMkRtadakSiNakarAM kheTakAhiyutavAmakasaM ceti / -Nirvanakalika, p. 37. vihaGgarAjAsanabaddhasaMsthA payodharAmA bhujagendrapatnI / phaNendrayugmAsisukheTakAGkA vairoTyadevI duritAni hantu / -Mantradhirajakalpa 3. 15. The Mantradhirajakalpa provides garuda (vihangaraja) as vahana and snake canopy overhead. 58. Three figures are carved on the vedibandha of the devakulika Nos. 1, 2 and 4, while the remaining ones are on the doorways. 59. sA'cchuptA'vyAd gaurI ha vAjinA yAti yA namasyantI / dvaiSamasikArmukajitA - ''havAjinAyAttiyAnamasyantI / -Catuurvimsatika 21. 84. acchumA taDidvarNA turagavAhanAM caturbhujAM khaDgabANayutadakSiNakarAM kheTaksahiyutavAmakarAM ceti / -Nirvanakalika, p. 37. turaGgavAhA sitanityakAyA khaDgasipatrIzarakheTakAGkA / yA jAtarUpapratijAtarUpA acchusadevI duritAni hantu !-Mantradhirajakalpa 3. 16. savyapANidhRta kArmuka spharAnyasphura dvishikhkhddgdhaarinnii| vidyudAbhatanurazvavAhanA'cchuptikA bhagavatI dadAtu zam !--Acaradinakara, 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. haMsAsanasamAsInA varadendrAyudhAnvitA / mAnasI mAnasI pIDAM hantu jAmbUnadacchavi: HAcaradinakara, p. 162. 63. mAnasIM dhavalavarNAM haMsavAhanAM caturbhujAM varadavajAlaGkRtadakSiNakara akSavalayAzaniyuktavAmakarAM ceti / -Nirvanakalika, p. 37. 64, nijAGgalatayojjvalA vizadabandhu jIvAmayA sitAGgavihagA hatAnamadabandhu jIvA'bhayA / jvalajjvalanahetikA haratu mAnasItApadaM zubhAti zayadyAnyavRddhanupamAnasItA padma / -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. Osian, Mahavira temple. [c. A. D. 783-92] 2. Delvada (Mt. Abu)., Vimala Vasahi temple. Ceiling, six Mahavidyas. [Courtesy : Archaeological Survey of India]

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3. Osian, Mahavira temple. Mukhamandapa, above the cornice, from left, Mahavidyas Vajrairnkhala and Rohini in panels. [Courtesy : American Institute of Indian Studies, Gurgaom.] Osian, Mahavira temple. Gudhmandapa, Apraticakra. [Courtesy : M. A. Dhaky] fivate & Person Use Only

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Mukhmandapa, Apraticakra. 5. Osian, Mahavira temple. 6. Devgadh, M. P., Jaina temple group, temple 12. Yaksi Cakresvari. [Copy-right author] www.jainelibrary

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DEL 7. Osian, Mahavira temple. Mukhmandapa, above the cornice, from left, Mahavidyas Apraticakra and Mahakali. [Courtesy : A.I.I.S., Gurgaon.] left, 8. Osian, Mahavira temple. Mukhmandapa, above the cornice, from Mahavidyas Gauri and Vairotya with Sarasvati. [Courtesy : M. A. Dhaky] ain Education International For Private & Personal use only www.janeling

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MAL 9. Osian, Mahavira temple. Gudhmandapa, Acchupta. [Courtesy: A.I.I.S., Gurgaon.].

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E 10. Osian, Mahavira temple. Devkulika No. 1, Acchupta. Deogarh, temple no. 12. Yaksi Sumalini. anelibrary.

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Vol. III, 1997-2002 Jaina Mahavidyas in Osian 83 66. asiphalakamaNi zrIkuNDikA hastikA'laM prabalaripuvanAnAM kuNDikA hastikAlam / mRgapatimadhirUDhA sA mahAmAnasI mAHag YATEG14SHIHET HH14 1--Caturvimsatika 15. 60. mahAmAnasI dhavalavarNA siMhavAhanAM caturbhujAM varadAsiyuktadakSiNakarAM kuNDikAphalakayutavAmahastAM ceti / - Nirvanakalika, p. 37. sAraGgasaMsthA himarocirAbhA bhRGgArakhaDgAbhayakheTakAGkA / 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.