Jaina Stupa At Mathura Art And Icons

Author(s): Renuka J Porwal
Publisher: Prachya Vidyapith
Catalog link: https://jainqq.org/explore/007031/1

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The Jaina Stupa at Mathura :
Art & Icons
UNI HOWA
REEF
ام که
ب
Dr. Renuka J. Porwal

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THE JAINA STUPA AT MATHURA:
ART & ICONS
Author: Dr. Renuka J. Porwal
Prachya Vidyapeeth, Shajapur
2016

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Printed by
Dr. Renuka J. Porwal Author
Available at
email: renukap45@gmail.com website: www.drrenukaporwal.com
First Published January 2016
Rs. 900/
Published by: Prachya Vidyapeeth
ISBN 978-81-910801-7-9
Dupada Road, Shajapur (M.P.). Tel: (07364) 222218
email: sagarmal.jain@gmail.com
: Pramit Prints, Mumbai 400 057. Mobile: +91 9004450598
: Shri Mumbai Jain Yuvak Sangh, 33, Mohamadi Minar, 14th Khetwadi, Mumbai 400 004
Tel.: (022) 2382 0296
• Rahul Porwal,
1105, Zenith Tower, P. K. Road, Mulund (W), Mumbai - 400 080 Tel.: (022) 2561 6231 / 2590 4279
All rights reserved. The copyright of this publication is vested solely with the Author. No part of this publication may be reproduced or transmitted, in any form or by any means, without the prior written permission of the Author.

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3 - 12 - 21
પુન્યાને મુક્ષાર છે. રેણુઇન ખ9 )રાજ,
અને ,
#
વર્તમાન મુજ કર જાન છેઝ . પ્રયા "મજુરી ખેન " માફેર છે કાપને કારણે યા શ્રેષ્ઠ સહનીફ કટર છે ને ધનનં અને મુતને) મુન ખરે છે. ૩,
પ્સ નહી હો. વર્તમાન સમય #એન મહત્ત્વ છે, પુખ) . દ્રષ્ટિ અને હું જે હો, તો સુરક્ષિત ૨વને ૨), હમે મ ટે, Pસા છેષ્ઠત્તમ પ્રયાસ છે સકાનિછા છે નામ છે હા 34) મનહર માને છે. માને છે કે પવિત્ર પ્રયાસ છે જે ૨૩ હસ્તે
સાજદ અજી.
مول
નયપક્ષસાર,

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The Jaina Stupa at Mathura: Art & Icons
दि. २१-११-२०१५
विदूषी डॉ. रेणुका पोरवाल ने मथुरा का जैन पुरातत्त्वीय अध्ययन पर शोधपूर्ण महा निबंध लिखकर ऐतिहासिक अनुसंधान किया है। मथुरा स्तूप के अभिलेखों से जैन श्वैतांबर परंपरा के मुनिगण-वाचकवंश के उल्लेख प्राप्त होते हैं। शिल्प एवं अभिलेखों के माध्यमसे तत्कालिन प्रवाहों की जानकारी मिलती है। विदूषी रेणुकाबेन ने इस महा निबंध में विस्तृत छणावट कि है। विदूषी लेखिका का लेखन निरंतर चलता रहे एवं जैन इतिहास समृद्ध होता रहे ऐसे मंगलमय आशीर्वाद।
द: आ. कलाप्रभसागरसूरि
का धर्मलाभ
AOOTOYOTIOYOOOOOOOOOOOOS
मुंब, ता. २१-१२-२०१५ શ્રીમતી ડૉ. રેણુકા પોરવાલે જૈન ધર્મ અને સાહિત્યમાં આચાર્યશ્રી બુદ્ધિસાગરજી પર મારા માર્ગદર્શનમાં શોધનિબંધ તૈયાર કરી મુંબઈ યુનિર્વસિટીમાંથી પીએચ.ડીની ડિગ્રી મેળવી. તેમની સંશોધન યાત્રા આગળ વધી અને અથાગ પરિશ્રમ દ્વારા ભારતીય ધર્મોના પ્રખર વિદ્વાન પૂજ્ય ડૉ. સાગરમલજીના નિર્દેશનમાં “મથુરાના જૈન સ્તૂપ : કળા અને પ્રતિમાઓ” - ગ્રંથ તૈયાર કર્યો. તેઓ સંશોધનક્ષેત્રે ખૂબ પ્રગતિ કરે, તેમને મારા અઢળક આશિર્વાદ અને શુભેચ્છા.
ડૉ. કલા શાહ

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Foreword
मथुरा का पुरातत्त्वीय वैभव - जैन समाज का दिशा-दर्शक
मथुरा का जैन पुरातत्त्व जैन संस्कृति का आधार कहा जा सकता है। मथुरा के पुरातत्त्व के अध्ययन के बिना जैन धर्म का सम्यक् इतिहास नहीं जाना जा सकता है। यदि हमें जैन धर्म का सम्प्रदाय निरपेक्ष इतिहास जानना है, तो हमें मथुरा के अभिलेखों और उसकी पुरातत्त्वीय सामग्री का अध्ययन करना होगा। जैन सम्प्रदायों का विकास कैसे-कैसे हुआ है, इसको समझने के लिए हमें मथुरा के जैन स्तूप और उससे प्राप्त पुरातात्वीक सामग्री को समझना आवश्यक है। जैन धर्म से सम्बन्धित प्राचीन अभिलेखों में बड़ली के अभिलेख को छोडकर प्राचीनतम अभि
ही प्राप्त होते है, चाहे जैन मूर्तिकला के विकास की बात हो या जैन देव-मण्डल के विकास की बात करना हो मथुरा का पुरातत्त्व उसकी एक आधारभूत इकाई है। जैन-इतिहास और जैन सम्प्रदायों के विकास को जानने हेतु मथुरा का जैनशिल्प एक आधार-भूमि प्रस्तुत करता है। जैन मुनियों के नग्नत्व से लेकर परवर्तीकाल से हुए वस्त्र-पात्र से सम्बन्धित विकास को समझने हेतु मथुरा के जैनशिल्प दिशा दर्शक है। यदि हम मथुरा के पुरातत्त्व को देखे तो उसमें सम्प्रदाय-निरपेक्ष जैन इतिहास अभिव्यक्त होता दिखाई देता है - उदाहरण के रूप में मथुरा में अधिकांश जिनमूर्तिया पद्मासन में मिलती है,
और जो भी खडगासन की प्रतिमाएँ है वे तो स्पष्टतया नग्न है और जो पदमासन की प्रतिमाएँ है, उन पर वस्त्र का कोई चिह्न नहीं है, जो जैन इतिहास के प्राचीनतम स्वरूप का बोधक है। जैन मुनि के नग्नत्व से लेकर परवर्ती वस्व-पात्र के विकास की अनेक कड़ियाँ मथुरा के जैन पुरातत्व में ही उपलब्ध होती है।
जब जैन धर्म से सम्बन्धित अभिलेखों को देखते है, तो पता चलता है की उनमें जिन गणों, शाखााओ और कुलों का उल्लेख है, वे सब श्वेताम्बर परम्परा के कल्पसूत्र की पट्टावली के अनुरूप है। उनमें जिन गणों, कुलो और शाखाओं का उल्लेख हुआ है, वे सब कल्पसूत्रों की पट्टावली या थेरावली के अनुरूप ही है। किन्तु दूसरी ओर जिन-प्रतिमाओं की पादपीठ पर जो जैन मनियों की मर्तियो के अंकन हैं वे जैन सब जैन धर्म के सम्प्रदायों के विकास की कहानी कहते प्रतीत होते हैं। मुनि मूर्तियाँ नग्न भी है, और उनके हाथ में कम्बल और मुख वस्त्रिका भी परिलक्षीत होती है। जैन धर्म में सम्प्रदायों की विकास का पारम्परिक मान्यताओं से निरपेक्ष जो इतिहास है वह तो हमें मथुरा के पुरातत्त्व में ही मिल पाता है। एक ओर मुनि मूर्ति नग्न है, तो दूसरी ओर उसके एक हाथ में पिच्छी है, जो दिगम्बरत्व की सूचक है, दूसरी ओर उसी मुनि के दूसरे हाथ में श्वेताम्बर परम्परा के अनुरूप झोली और पात्र भी है। यह सब इस बात का सूचक है कि जैन धर्म के आचार-विचार में वस्त्र-पात्र का विकास किस क्रम से हुआ है, यह तथ्य हमें मथुरा के पुरातत्त्व से ही प्राप्त होता है, कहा जाता है कि पाटलीपुत्र के पश्चात् जैन धर्म की मुनि-परम्परा दो भागों में विभक्त हुई, एक परम्परा बंगाल की खाडी के तटों से गुजरते हुए उडीसा, आंध्र और तमिलनाडु के रास्ते से होती हुई लंका तक पहुँची .

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The Jaina Stupa at Mathura: Art & Icons
वहाँ से लौटते हुए पुनः कर्नाटक के रास्ते धारवाड के समीप उत्तरी कर्नाटक पहुँची। यह धारा दक्षिण के उष्ण-परिवेश के कारण नग्न या अचेल ही रही और निर्ग्रन्थसंघ के नाम से जाती रही। दूसरी धारा पश्चिमी उत्तर प्रदेश से होती हुई मथुरा पहुंची और वहाँ से विन्ध्य होती हई विदिशा और अमरावती के रास्ते उत्तर-पश्चिमी कर्नाटक पहँची. यह धारा नग्नत्व पर बल देती रही, किन्तु अपवादिक स्थिति में सीमित वस्त्र-पात्र को स्वीकृत भी करती रही, यह धारा यापनीय कहलाई। जो धारा मथुरा पहुंची थी वह भी विभक्त होकर हरियाणा, पंजाब, राजस्थान के रास्ते कल्याण, पुणे होती हुई उत्तर-पश्चिमी कर्नाटक पहुँची, यह धारा श्वेतपट्ट महाश्रमण संघ के नाम से ज्ञात हुई, इसी की एक शाखा – कूर्चपुर (कुचेरा-राजस्थान) के आधार पर कूर्चक संघ कहलाई। आज भी हलसी के अभिलेखों में जैनधर्म की इन चारों शाखाओं के उल्लेख उपलब्ध है। जो शाखा उत्तर-पश्चिमी भारत के रास्ते पंजाब और उत्तरी राजस्थान पहुंची थी वहाँ शीत की अधिकता के कारण नग्नत्व पर अडिग न रह सकी तथा कम्बल वस्त्र और पात्र को स्वीकार लिया गया, यह परिस्थिति के साथ समझौता था, यह शाखा श्वेतपट्ट महाश्रमण संघ के नाम से अभिहित होती रही है, श्वेताम्बर मुनि परम्परा इसी का परवर्ती रूप है। यही जैन धर्म की श्वेताम्बर और दिगम्बर शाखाओं के विकास का सच्चा इतिहास है, मथुरा का पुरातत्त्व इसी कहानी को स्पष्ट करता है। मथुरा के पुरातत्त्व का एक लम्बा इतिहास जो ईसा की प्रथम सहस्त्राब्दि अर्थात् ईस्वी सन् की प्रथम शती से लेकर बारहवी शती तक के परिवर्तनों की कहानी कहता है। वस्तुतः जैन सम्प्रदायो के उत्थान-पतन की यथार्थ कहानी मथुरा का पुरातत्त्व ही प्रस्तुत करता है। मथुरा में जैन पुरातत्त्व की सामग्री ईसा की प्रथमशती से लेकर ईसा की 11-12 वी शताब्दि तक की अनवरत काल क्रम से प्रस्तुत करता है। ___ बहन रेणुका जी पोरवाल ने इस सम्बन्ध में जो अध्ययन किया है वह सम्प्रदाय निरपेक्ष है और विद्वानों को उस दिशा में अधिक प्रयत्नशील होने का संकेत करता है। आज जैन समाज का और उसके विद्वानों का यह दुर्भाग्य है कि वे सम्प्रदाय निरपेक्ष जैन इतिहास की संरचना में प्रायः निष्प्राण बने हुए है। अच्छा हो कि बहन के प्रयत्न से मथुरा की जो सामग्री प्रकाश में आयी है और हम वास्तविकता को समझ सके। बहन रेणुका जी का यह प्रयत्न हमारा प्रेरक बने। उन्होंने इस सम्बन्ध मेरा दिशा-दर्शन में जो प्रयत्न किया है वह सम्प्रदायों की खाई को पाटने में सहायक हो। इस पुनीत्त कार्य में मेरा उन्हें सहयोग रहा है और एक गृहणी होकर भी विद्या के क्षेत्र में उन्होंने जो प्रयत्न किया है जैन समाज और विद्वत् वर्ग उसका लाभ उठाये। इति अलम्।
सागरमल जैन प्राच्य विद्यापीठ शाजापुर (म.प्र.)

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Preface
Namo Arihantanam
Namo Ayariyanam
Mathura is considered as one of the most sacred city in India since ancient time. The city was also held in high esteem for Jaina Sangha, as per literature and findings. This book on 'Jainism at Mathura' reveals the history of Jainism through available images and sculptures of Jaina stupa and other sanctuaries from Mathura.
Namo Siddhanam
The most prestigious stupas available in India are at Sanchi, Bharhut and Mathura. Out of them, only one existing at Sanchi belongs to Buddhism. The other two at Mathura and Bharhut were excavated in 19th century by various ASI officers but were in bad condition of preservation, hence both sites were closed and the available artefacts were sent to Lucknow and Calcutta museums respectively. The stupa at Mathura was dedicated to 7th and 23rd Jain Tirthankaras, as per the scriptures and obtained artefacts, while Bharhut stupa was considered Buddhist as per available sculptures.
The Jaina stupa site - Kankali Tila, at Mathura was famous as "Deva Nirmita' among local people as referred by Growse in 'Mathura-A District Memoir', also more than three images excavated from the site hold such words. In this research work all excavated sculptures and their references in Jaina scriptures are utilized before coming to any conclusion. At Mathura historical evidences are recorded from 200 B.C. to 1200 A.D. on sculptures. Thus at one place, Jainas' fourfold community's history with genealogy of preceptors are available in Brahmi and Devanagari script. The inscriptions match with 'Theravali' of Kalpasutra and Nandisutra. The obtained images of medieval period are of both Svetambara and Digambara traditions. The folk art of Mathura- the women enjoying their routine work like playing a ball, going to adore the shrine with offerings, performing Garba dance, lighting a lamp, gathering sala flowers, playing a harp, seeing a mirror, squeezing hair after bath etc. could be seen on sculptures available from this Jaina site. Most of the material is in Lucknow, Delhi, Mathura, Calcutta, London and other museums of the world.

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8
The Jaina Stupa at Mathura: Art & Icons
Last but not the least without the co-operation of my family, such a difficult task of Jainism could not be completed. My father Hiralal Shah, father-inlaw Adv. V. C. Porwal, and mother-in-law Liladevi had encouraged me for further studies after I passed LL.B. My mother Saroj Shah, fully devoted to Jainism, wanted me to do some research work in Jaina's forgotten past, I, tried to achieve her wish. I am very much thankful to my grandson Akshat, daughter-in-law Rakhi, son Rahul and husband Jinendra, my brother-in-laws Rajendra, Surendra, Virendra and brother Prakash. While visiting Delhi, Lucknow, Indore, Mathura, Bulsar etc. I received great support from the families of Mr. Ramanlal Parekh, Dr. Shobhit Singhi, Nitin-Mohan Mittal, Mr. Rajendra Pandit, Mr. Sanjay Jain, Piyush Jain and many more.
I offer my gratitude towards them.
Dr. Renuka Porwal 1105, Zenith Tower, P. K. Road, Mulund (W) Bombay- 400 80.

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About the Book
Mathura's Jain Stupa : Art & Icons
There are two ways in which the religious traditions in ancient India have been studied The Indologists studying the scriptures, along with the current practices; and the Archaeologists and Art Historians studying the excavated and explored remains, or the living monuments. Scholars have come to realize now that such study only of the oral tradition and the religious practices, or only of the material remains results in a partial understanding of the past, or even of living religious traditions. In the case of the Vedic-Hindu tradition, it was Ananda Coomaraswamy and Stella Kramrisch, who first tread the path and showed how to complement the understanding of the scriptural / oral tradition with the help of the material, especially the Art Historical, evidence. Current studies carried on by scholars like Dr. Cohen (Later Phase of Ajanta) and Professor Schopen (Buddhism in Andhra Pradesh, Mahayana Buddhism) show us the way the discipline is going to take shape, in this regard, in the near future. Dr. U. P. Shah and Professor Dhaky have done pioneering work in this direction, in the case of Jainism.
I am very glad, therefore, that Dr. Renuka Porwal has taken a very bold step by undertaking the study of the Mathura Sculpture to reconstruct the History of the Jain Church. Besides Valabhi, where the Shvetambara Canon was finally redacted (in early 6th Century), Mathura is the only archeologically important site that has got potential to help understand the cultural history of Jainism.
Mathura was the southern capital of the Kushans (1st to 3rd Century C. E.), who established a vast empire that comprised regions forming parts of modern India, Pakistan, Afghanistan and Central Asia. This was significant from the economic/ commercial point of view; the area ruled by them was at the hub of the famous Silk Route and Mathura was a strong commercial hand that joined the vigorous international trade with a political authority that treated different religious traditions equally. The Kushan emperors in return expected legitimation from the diverse religious communities that they ruled. The era of Kushans is significant not only archaeologically, but also art historically; it is often described as the 'melting pot' of divergent cultures, and art historically described as the 'Cusp-Era'. As a result two distinct art schools, viz. the Gandhara and the Mathura school of art took their origin and prospered vigorously, in two different parts of the empire. In the initial stages, the two exchanged certain stylistic features as also artistic motifs that

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The Jaina Stupa at Mathura: Art & Icons
helped in their healthy growth. It was natural that the Jain art very naturally expressed itself with a strong assertion, for the first time, and in plenty. The second reason why the Mathura school prospered was the different environment that also promoted the healthy growth of diverse religious traditions, and the new trends in the three religious traditions of India. These are Pashupata, Panchratra-Satvata in the Hindu agamic, the Sarvastivadi in Buddhist, and Digambara - Shvetambara in the Jaina tradition. It is at Mathura, that for the first time we see the mukhalingas, kayalingas and shrines of acharyas that show affinities to the Lakula-Pashupata sect, the ayagapatas and images of the Jain Tirthkaras, as also the image of the Buddha in Mathura and Gandhara styles. Mathura with its many sacred woods (proverbially twelve) and ghats was not only the sacred setting for the exploits of Krishna-Gopala, but of Buddhist and Jaina acharyas, like Upagupta and Jinabhadra-kshamashramana. The Jaina tradition has a long chain of names of legendary saints right from Jambusami who visited the city. Arya Skandila was very much connected with the 3rd Council at Mathura, and the 'Mathuri vachana'. The list continues to the times of Hiravijaya-suri, a contemporary of emperor Akbar. If Mathura was the fountainhead of new sculptural trends and iconographic innovations in buddhist and agamic iconography, for the Jain community the most important of the sanctuaries was a Jaina monument known as the
deve-nirmita-stupa', the vibrant memories of which echoed from time to in literature and inscriptions. It is interesting to note that poet Somdevasuri, in his 10th Century work Yashastilakachampu, narrates the legend of the dispute between the Buddhists and the Jains regarding the divine stupa' at Mathura. There is reference in a 10th century inscription to the legendary monument. The account left by Jinaprabhasuri, in his Vividha-Tirtha-Kalpa, shows very clearly that tradition kept alive details like Jinabhadra-kshamashramana (circa 500-600 C.E.) reconstructing the moth eaten text of the Nishitha-sutra with the help of a Ms. preserved in the manuscriptorium of the famous stupa. This tradition of the divine stupa' must have attracted the devout Jains for more than a millennium and inspired them to contribute in terms of structures and images built continuously till at least the 11th century, as the materi evidence here shows. The story ends when this great Jain heritage was razed to the ground by raiders of Gazna, and was slowly consigned to the womb of the earth. This came to be known as the Kankali tila The author, Dr. Porwal, takes a survey of the images of the Jinas, of the growing Jaina pantheon (comprising the yaksha-yakshis, and the other paraphernalia like Shutadevi, Lakshmi, and Balarama and Krishna), and other

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About the Book
significant archaeological artifacts like the 'Ayaga-patas'. After the discovery and the report of Growse and Oxon (1874), and the basic study of Vincent Smith 1901) in the form of Jain Stupa and other Antiquities from Mathura, three or four generations of scholars (like V. S. Agrawala, N. P. Joshi, R. C. Sharma) who were closely associated Jain antiquities of Mathura classified the antiquities, sculpture and imagery at Mathura, and stylistically delineated their characteristics. There was another important historical aspect of the studies in the Jain antiquities, which was pursued with equal fervor, and that pertained to the epigraphs found here. Many scholars contributed to this, but most noteworthy among them were of G. Bühler and H. Luders. The latter's Mathura Inscription is still a standard research tool in present times. Dr. Porwal has been fortunate to receive the enlightened guidance of Professor Sagarmal Jain, who gave her an insight to pore into the iconographic details, not only of the imagery of the Jinas and yaksha-yakshis, but also the monks and nuns that find place in the “saparikara’ images of the Jinas, as a part of the four fold Jain church'. With the help of these, Dr. Porwal has made a laudable exercise to reconstruct the history of the Spread, all over India, of the Jain faith, and the different spiritual groups that form the Jain community as a whole. With the right use of the art historical and archaeological evidence this meticulous piece of research endeavors to trace origin of various schisms in the course of history of the Jain community ; and put that in a rational / historical perspective. As Professor Sagarmal Jain has expressed hopefully in his Foreward to the work, this analysis will not only put the history of the Jain Church in a right historical perspective, but help overcome the chasm of sectarian feelings within the Jain community at large.
A. P. Jamkhedkar K. J. Somaiya Centre for South & Southeast Asian Studies,
Somaiya Vidyavihar, Date : 1st October 2015 Place : Mumbai 400 077

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About the Author
એક ગૃહિણીનું સંશોધન તપ
ડૉ. રેણુકાબેનનો સંશોધન વ્યાપ આશ્ચર્ય પમાડે એવો તો છે જ, પણ એથી વિશેષ વ્યાપ તો એમની વૈવિધ્ય વિદ્યા સંપત્તિનો છે. કોલેજકાળમાં વિજ્ઞાનના વિદ્યાર્થીની બે.એસ.સી., પછી ગૃહિણી શ્રાવિકાની જવાબદારી સાથે કાયદામાં એલ.એલ.બી. સ્નાતક થયા, એ ઓછું લાગ્યું હોય એટલે પૂ. બુદ્ધિસાગરસૂરીશ્વરજીના જીવન અને કવન ઉપર મહાનિબંધ લખી પી.એચ.ડીની ઉપાધિ પોતાના બટવામાં મૂકી દીધી.
આ અલ્પભાષી શ્રાવિકાને આ પણ ઓછું લાગ્યું એટલે પોતાના સંશોધન જીવને વિસ્તારી શિલ્પ-સ્થાપત્યનો અભ્યાસ કર્યો. જ્ઞાન ભંડારોની મુલાકાત લીધી, શિલ્પસ્થાપત્યો પાસે પહોંચી પરિશ્રમ કર્યો અને આજે તેઓ આપણા હાથમાં આ ‘મથુરાના જૈન પ કળા અને પ્રતિમાઓ'નો મહાગ્રંથ સ્મિતવદને મૂકે છે.
-
વિદ્યા શાખાના આ કાર્યથી ડૉ. રેણુકાબેન, અન્ય શ્રાવિકા ગૃહિણીઓના પ્રેરણાસ્રોત બને છે.
શબ્દ અને શિલ્પથી જ જગતના ધર્મો અને સંસ્કૃતિ જીવંત રહે છે. શબ્દ દ્વારા શિલ્પના અભ્યાસથી ધર્મ અને સંસ્કૃતિના વિકાસ તથા પરિવર્તનની વર્તમાનને ખબર પડે છે. ડૉ. રેણુકાબેને આ ગ્રંથ થકી આ પૂણ્ય કર્મ કર્યું છે.
સાત પ્રકરણમાં વિસ્તરાએલા આ ગ્રંથમાં મથુરાના જૈન સ્તૂપની ચિત્રસહ સંશોધનાત્મક અને સર્જનાત્મક માહિતી ભરેલી છે. સ્તૂપ એટલે બૌદ્ધૌના જ!!! એવી સામાન્ય માન્યતાને ખંડિત કરી જૈન સ્તૂપની માહિતી, ઉપરાંત અન્ય શિલ્પ-સ્થાપત્યની માહિતીથી આ ગ્રંથ વધારે સમૃદ્ધ બન્યો છે. તે ઉપરાંત શિલાલેખો અને અંગ્રેજી ભાષામાં એનો અનુવાદ પણ આ ગ્રંથને મોરપિચ્છ અપાવે છે.
જૈન શબ્દ-શિલ્પ ગ્રંથ ભંડારોમાં શોભી ઉઠે અને વાચકો માટે જ્ઞાનવર્ધક બને એવા આ ગ્રંથને આપણે સહુ વધાવીએ અને આ પુરસ્કૃત કાર્ય કરવા માટે એમને પ્રોત્સાહિત કરનાર એમના ગુરૂજનો, પરિવારજનો તેમજ મિત્રોને શબ્દ-વંદના કરીએ.
- ડૉ. ધનવંત શાહ
મુંબઈ, ૭-૧૨-૨૦૧૫.

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Acknowledgements
I am very much thankful to Archaeological Survey of India for the approval to reproduce Brahmi inscriptions with their translations available in Epigraphia Indica
Vol. I - Inscriptions nos. 1 to 35 with its corresponding plates.
Vol. II - Inscriptions nos. 1 to 39 with its corresponding plates.
Vol. X - New Brahmi Inscriptions of Scythian period, Brahmi Inscriptions with its translation.
I am also thankful to the curators of Mathura and Lucknow museums as well as American Institute of Indian Studies for their kind permission to publish their photographs stated below
I am grateful to authorities of American Institute of Indian Studies, Gurgaon, for providing me the photographs for publishing, figure numbers - 24, 55, 85, 86, 87, 89, 90, 97, 110, 112, 116, 117.
I am also very much thankful to authority of Lucknow Museum for providing the best photos I wanted to publish in my present work covers the numbersJ.7, J.8, J.13, J.15, J.39, J.57, J.60, J.67, 1.77, J. 100 J.117, J.123, J.143, J.227, J.231, J.248, J.252, J.253, J.255, J.268. J.532, J.623, J.686, J.256, B.26, B.84, G.215, 0.210,
I am grateful to authorities of Mathura Museums for providing the best photographs and permission to publish the photograph numbers- Q.2, 0.72, 34. 2547, 12.259, 12.268, 13.75, 14.369, 14.488, 15.590, 18.1505, 18.1509, 40.2874, 48.3426. 71.8. 20.21.1603. 80.2. B.5. B.6. B.12. B.15. B.22. B.32, B.35, B.61, B.63, B.65, B.69, B.70. B.71. B.77. E.2, J.6. J.57, J.63. J.64.
I am deeply thankful to my Guru, guide and well-wisher Dr. Sagarmal Jain for his guidance in this historical research, without his suggestions it was not possible to complete this lengthy difficult subject. I am thankful to Dr. A. P. Jamkhedkar, Dr. R. C. Sharma - Ex-Director of National Museum Delhi, Dr. Madhusudan Dhanki (President of AIIS, Gurgaon), Ex-Curator of Mathura and Lucknow museums - Dr. Jitendra Kumar and Dr. Tivari. I am very much thankful to Director of Lucknow Museum Dr. Ajaykumar Pande for providing all

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The Jaina Stupa at Mathura: Art & Icons
necessary arrangements and cooperation to study the artefacts. I am grateful to Dr. Nilakanth Joshi and Padmanabh Jaini for their suggestions. Shri Varma provided all necessary photographs through the best photographer of Lucknow.
I am also thankful to Dr. Kala Shah for advising me to do further research in Jainism after completing my Ph.D. Dr. Jitendra Shah - The Director of L.D. Institute, Ahmedabad, Dr. Kumarpal Desai, Shri Gunavant Barvadia, Dr. Dhanvant Shah, Dr. Abhay Doshi, Shri Chimanbhai Kaladhar, Dr. Kokila Shah and Dr. Gita Mehata have always encouraged my work.
I am very much thankful to Dr. Joan Dias, Director - Heras Institute, St. Xavier's College and Curator Shilpa Chheda, for their suggestions.
My special gratitude towards -
•
Shri Jain Yuvak Sangh, Bombay and Prabuddha Jivan.
•
Jain Academy, University of Mumbai.
•
Shri Mahavir Jain Vidyalay, Bombay.
•
Jaina: Federation of Jain Associations in North America, USA.
• World Jain Confederation, Bombay.
•
Srut Ratnakar Trust, Amdavad.
I will always remain indebted towards them. Reference books are of utmost importance for the research work. I am extremely indebted to libraries all over India viz.
University of Mumbai, Heras Institute, Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (formerly Prince of Wales Museum of Western India), Thana Jain Derasar, K. J. Somaiya Jain Centre, Sanskrit Pitham, Buddhist Centre, Government Museum - Mathura, State Museum - Lucknow, AIIS – Gurgaon, Kundkund Vidyapeeth - Indore, Prachya Vidyapeeth - Shajapur and Government Museum - Chennai.
My gratitude is due to Pramit Prints is great as they have done their job in very limited period. I am very thankful to Ajay and Naina.

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Contents
Chapter 1: Place of Mathura in Jainism:
1.1 Introduction: 1.2 Indian Spiritual Traditions (Vedic and Śramanic Tradition): 1.3 The Union of Vedic and Śramana Traditions: 1.4 Glory of Jainism: 1.5 The Centre of Indian Culture - Mathura: 1.6 Historical Background: 1.7 The importance of Mathurā in Jaina Culture: 1.8 Jaina Culture at Mathura: 1.9 The Grandeur of Mathurā in Jaina Tradition: 1.10 Jaina Stūpa at Mathura: 1.11 The Elucidation of Jaina Tradition through 'Deva Nirmita Stūpa':
..21-45
Chapter 2: The Tradition of Stupa in Jainism:
2.1 The Concept of Caitya and Stupa in various Scriptures: 2.2 The Concept of Caitya and Stupa in Jaina Literature: 2.3 The Stupa at Mathura: 2.4 Jinaprabhasuri's Account of Stupa at Mathura: 2.5 The Period of Mathura's Stūpa: 2.6 The Establishment of Stupa as per Scriptural data: 2.7 The period of Stupa based on sculptures and epigraphic Records 2.8 The Dispute between Jainas and Buddhists over the Stupa and its Reconciliation: 2.9 The Stupa Architecture: 2.10 The Available Artistic Sculptures from Jaina Stūpa: 2.11 Jaina Images: 2.12 The Deities Assimilated in Jaina Pantheon: 2.13 The other Important Archaeological Artefacts: 2.14 The Comments of Historians and Travellers:
Chapter 3: Mathura School of Jaina Art........
3.1 The Evolution of Jina Images: 3.2 The Development of Mathurā art style: 3.3 The impact of Gandhara Art style on Mathura School: 3.4 The stylistic features of Mathura school of Art: 3.5 The salient features of Mathura School (in detail): 3.6 The Veneration of Auspicious Symbols: 3.7 Astmangalas: 3.8 Jaina Shrines of Earlier period: 3.9 Iconography of Jina images: 3.10. The concept of Sarvatobhadra images: 3.11 Concept of 24 Tirthankaras 3.12 Iconography and evolution of Jina images of Kuṣaṇa, Gupta and medieval period with its distinctive features: 3.13 The eyes, hair arrangements, Uşnişa, Nimbus and facial expression of Jina images: 3.14 The carving of auspicious symbols on palms, toes of Jinas and snake hood of Pārsvanatha:
.46-74
.75-108

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The Jaina Stupa at Mathura: Art & Icons
3.15 Lions on the Pedestal: 3.16 Cognizance or Lāñchana: 3.17 The round carving of Tirthankaras - Mathurā style: 3.18 The Gradual Development of Belongings of Ascetics as Observed A) in Scriptures and B) on Pedestals of Jinas :
Chapter 4: The gradual development of deities in Jaina Pantheon: ... 109-130 4.1 The Trend of Veneration of Deities in Jaina Pantheon: 4.2 The Krsna & Balarāma with Aristanemi: 4.3 The Origin, Development and Practice of Tantra in Jainism: 4.4 The Contribution of Hinduism in the development of Deva cult: 4.5 The Yaksa-Yaksis in scriptures and Mathurā Art School: 4.6 Āryāvatī: 4.7 Negameșa or Harinagameși: 4.8 The Transfer of Embryo as described in scriptures: 4.9 The images of Negamesha from Mathura: 4.10 Vidya: 4.11 Laksmī: 4.12 Ambika: 4.13 Cakresvarī: 4.14 Some unidentified Deities: 4.15 Dharanendra and a Yaksi in a canopy of Parsva: 4.16 Sarsavati: 4.17 The Śrutadevi Sarasvati in Ardhamāgadhi Agama Literature: 4.18 Development of Śrutadevatā/śrutadevī: 4.19 The adoration of Sarsvatī in various scriptures: 4.20 The comparison of the three images of deities - Āryāvatī, Vidya and Sarasvati with their inscriptions: 4.21 The Popularity of the Deity:
Chapter 5: The other Excavated Artefacts of Mathura: ............... 131-155 5.1 Āyāgapatas: 5.2 Āyāgapatas in the Scriptures: 5.3 The Classification of Āyāgapatas: 5.4. The description of some of the Ayāgapatas (1 to 22) : 5.5 Railing Pillars: 5.6 The Concept of Salbhañjikā: 5.7 Defination: 5.8 Scriptural References (Rgveda, Nidānkathā and Avadānsataka, Raypasaniya-sūtra) : 5.9 Elucidation: 5.10 The adopted Theme of Śālbhañjikā in Sculptures: 5.11 Evolution of Śālbhañjikā: 5.12 Comparison of Stūpa with Yāna in Rāyapasenium-su 5.13 Toranas: 5.14 Some specimens illustrating life incidences of great men: 5.15 Few unclarified reliefs from Kankāli Tilā: 5.16 Chatra – The flat roof of Shrine: 5.17 Mathurā's Jaina images with special reference to Ușņișa:
Chapter 6: The Early Epigraphic Records of Mathurā ............. 156-232 6.1 The cult of Jaina Tirthankaras: 6.2 The Carving of Inscriptions: 6.3 Some distinctive Inscriptions: 6.4 Three images of medieval

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Contents
period with the words Mula Sangha and 'Deva Nirmita': 6.5 The characteristics of inscriptions: 6.6 The Influence of Jainism on Sociorelegious and Economic Life of Common People: 6.7 The Evolution of Mahāmantra Navakāra and Its Present Form: 6.8 The Yantra of Navakara Mantra: 6.9 The Roots of Gana, Kula, and Sākhā of the Preceptors: 6.10 The Sthavirāvali/Therāvali as Expounded in Kalpasutra: 6.11 Sanksipta Vācanā and Vistruta Vācanā (Short and Detailed reading): 6.12 Agama Vācanā: 6.13 The Classification of Āgamas: 6.14 The Antiquity of Āgamic Literature and Its Composition: 6.15 The Basic Language of Āgamas: 6.16 Yāpaniya and Digambara Scriptures: 6.17 The Table of Agamā Vācanā at a glance: 6.18 The Tradition of Preceptors as observed on Mathura Inscriptions (Table): 6.19 The Tradition of Sramanas with three Ganas - (Kottiya, Varana & Udeha) as observed on Mathura inscription: 6.20 The table of Image Inscriptions with its details as noted in Luders List and Jaina śilālekha-II, Epigraphia Indica, Indian Antiquáry, etc. with the Year of Donation: 6.21 Mathurā Image Inscriptions in Prakrit: 6.22 Mathurān Inscriptions in Brāhmi see fig. nos. 140-158 :
Chapter 7: Spread of Jainism:..
................. 233-238 7.1 Spread of Jainism: 7.2 The journey in Two-Groups: 7.3 The First Group: 7.4 The Journey of Second Group: 7.5 The Gathering of both Groups:
Bibliography......
....... 239-249
List of Illustrations.....
.... 250-304

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The Jaina Stupa at Mathura: Art & Icons
Abbreviations
AIIS
American Institute of Indian Studies, Gurgaon
ASI
Archaeological Survey of India, New Delhi
Archaeological Survey of India, Annual Report
ASIAR Ep I, &/or E I.
Epigraphia Indica
IHQ
Indian Historical Quarterly
In Ant., /&/or I A.
Indian Antiquary
HIIA
History of Indian and Indonesian Art
JASC
Journal of the Royal Asiatic Society, Calcutta
K.T.
Kankali Tilā
V.T. Kalpa
Vividha Tīrtha Kalpa
JSS
Jaina Shilalekha Sangraha Jaina Stūpa..of Mathurā.. The Jaina Stupa and other Antiquity of Mathura
LL or L.L.
Luders List
LM
Lucknow Museum
M.R.P.
Mathura railing pillar
MM
Mathura Museum
NM
National. Museum, Delhi
SJA
Studies in Jaina Art
Vk.S.
Vikram Samvat

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The Jaina Stupa at Mathura: Art & Icons
Important Dates
Gautam Buddha
Mahavira
Maurya period Shunga period
Ksatrapa dynasties
Kushana period
i) Kadaphises ii) Wema Kadaphises II,
- 563 B.C. to 483 B.C. - 599 B.C. to 527 B.C.
323 B.C. to 185 B.C. - 185 B.C. to'72 B.C. - 100 B.C. to 57 B.C. - 1st A.D. to 176 A.D. - c. 1st A.D. to 40 A.D. - c. 40 A.D. to 77 A.D. - c. 78 A.D. to 101 A.D. - 102 A.D. to 105 A.D. - 106 A.D. to 138 A.D. - 138 A.D. to 176 A.D. - 320 to 6.600 A.D. - 650 A.D. to 900 A.D. - 900 A.D. to 1200 A.D.
iii) Kaniska
iv) Vasiska
v) Huviska
vi) Vasudeva
Gupta
Early medieval period
Medieval period

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The Jaina Stupa at Mathura: Art & Icons
Table of Transliteration
15 is
cha
dha
फ
भ bha
ma
kşa
jña

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1 The Place of Mathurā in Jainism
1.1 Introduction:
Indian culture is entirely based upon a thought of spirituality, inheritance of knowledge, religions and customs. The people follow norms assigned by recluses believing in the philosophy of Karma, rebirth, truth, nonviolence, existence of heaven, hell, as well as the immortality of soul. These beliefs have greatly affected the world-views and the life styles of the Indian people. Their common core is that actions of the body, speech and mind produced long term unseen results determining the type of rebirth. The cycle of birth and death is endless and would continue till the person gets liberation (mokṣa). Here, respecting every religion is a part of human value. The principle of morality is observed everywhere. The ancient town, Mathurā has played a significant role in the development of the religion and culture of India since Mahāvīra's period as referred in Āvaśyaka-cūrņil. The gigantic statues of the Mauryan period- the images of Jinas, Bodhisatvas and yakşas, the elegant Śālabhañjikās, beautiful paintings of Krsna's Rāsalīlā in ancient Dvārakādhīša shrine, earned the city fame as a treasure trove-of-art.
1.2
Indian Spiritual Traditions (Vedic and śramaņic): India has its own spiritual tradition which has been developed in the course of time. These are: i) Vedic and ii) Śramanic. Vedic tradition is based on rituals, known as “Pravrtti Mārga” while Śramana stresses on renunciation called “Nivrtti Mārga”. Vedic Tradition: The Vedic or Brāhmaṇical tradition gives importance to the physical aspect of human life, and hence lays emphasis on rituals and household living. There are prayers seeking physical fulfilment such as the desire to live up to a hundred years, to have healthy progeny, to have the cows produce more milk, etc. Since the worldly possessions depend upon the forces of nature, these forces are praised, adored and invoked through prayers or hymns and sacrifices or yajñas.
1
Sharma R.C., Mathurā- The Jaina Tirtha Karikāli, Hindi, (Mathurā, Jambusvāmi Digambara. Jain Siddhakşetra Samiti, Corāsi, 1971), pp. 3.

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The tradition is further classified into two factions:A. Devotional cult (Bhakti mārga). B. Ritualistic cult (Yajña or Karma mārga). Those who follow the devotional cult chant mantras (hymns) to please deities such as Indra, Varuņa, Agni, Vāyu etc. who control the various forces of nature. The ritualistic cult proposes techniques of performing rituals, which are sourced from the Brāhmaṇa literature. It describes methods for performing yajñas and offerings to please the deities. In Veda, rituals and yajñas had received importance even though asceticism, detachment and the concept of liberation were slowly adopted and given a room in the path of purification. During the Aupanişadika period, the concept of spiritual living was introduced. Iśāvāsyam is the first effort to interfaith both traditions and the second is the Bhagavad-Gitā. The present Hindu religion with its developed concepts of renunciation, austerity, mokşa etc. establishes that it had adopted, absorbed and incorporated some of these doctrines from the Sramana tradition and developed them in a new form. Śramaņic Tradition: Many philosophical systems- Ājivika, Aupanișadika, Sānkhya, Yoga, Buddhist, Niganthas, etc. were the parts of the ancient Sramaņic tradition. Of these, the Ājivika sect is now extinct while Aupanişadika, Sānkhya and Yoga merged into the Vedic tradition. The word Nigantha or Nirgrantha was used only for the followers of Pārsva and Mahāvīra's tradition which came to be known as Jaina after the 6th - 7th century A.D. The later Śramaņaic tradition includes only Buddhism and Jainism. The Śramaņas worship Arihanta, so known as Ārhat. References to Ārhat, Vrātya, Vātarasanā Munis, etc. are found in the ægveda, showing their early existence. Even the seals of the Indus valley showing recluses performing austerities in the forest could perhaps be Śramaņas. Thus the antiquity of this tradition goes back to the earliest civilisation of India.
2
1) Jain Sagarmal, Jain Dharma kā Samksipta Itihās: (Śajapur, Präcya Vidyapitha, 2003,
reprint 2012), pp. 4. II) G. Jawaharlal, Jainism - origin and Growth, (Rajmundry, Shri Laksmi Ganapati
IMAGES, 2014), pp. 45, fn., 29 - Rgveda, X, 9, 102.6.

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The main characteristic of the Sramanic ideology is the attitude of renunciation towards worldly attachment. The universe is considered to be eternal and not a creation of God. The elements of the sky - sun, moon and planets are accepted as the worshippers of Tīrthankaras. Here, life is considered transient and full of sorrow. Craving is seen as the chief cause of the birth cycle and therefore, to end suffering and attain mokşa, the goal of life, importance is given to detachment. This tradition protests against yajñas, rejects the caste system and supports equal rights for women.
1.3
The Union of Vedic and śramaņic Traditions: Due to the impact of the Sramanic tradition, the yajñas of Vedic times involving injury to living beings changed to spiritual ones and because of the Vedic influence, Buddhism accepted many elements of the Pravịtti mārga into their Mahāyāna and Tantrayāna schools of thought and the same happened with Jainism also. Theragāthā, Rşibhāṣita (4th century B.C.) and īśāvasyopanişad propound that in ancient times all the different philosophies coexisted through religious tolerance. Theragāthā provides discourses of saints of different traditions including Vardhamāna (Mahāvīra). Rsibhāsita shows the mutual understanding between all faiths. It refers to 45 Rșis like Nārada, Asitdevala, Angirasa, Parāśara, Aruņa, Nārāyaṇa, Yājñavalkya, Uddālaka, Vidura, Sārīputta, Mahākaśyapa, Mankhali-Gośāla, Sañjaya (Veliththiputta), etc. as Arhat or Brāhamaņa or Bauddha Rşis?. This scripture establishes that the original source of all Rși tradition is one. Here only their spiritual thought and sermons are recorded without any sectarian beliefs. Jaina temples also borrowed pompous worshipping styles from the Vaisnava cult. The first stanza (Gāthā) of the Upani sada - Išāvāsyam itself suggests the coexistence of all living beings in one universe. To comprehend Indian traditions, one must not see them independently as they will not present a clear picture about a particular faith. Dr. Jain Sagarmal notes that for studying the Indian-origin traditions one must know their impact on each other: "If one examines minutely the various aspects of each religion and endeavours to know its contents, the whole picture wouldn't still be clear as all of them have accepted the cardinal points of one another”.4
3 4
Jain S. Jain Dharma ka Samksipta Itihas, 2003, pp. 18. Ibid, pp. 11-12.

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He even compares the different Indian-origin traditions with the parts of a body or a machine and concludes: “Just as each part of a body or a machine individually cannot justify the process and their internal working. In the same manner, it is most necessary to know the relationship between the coexisting traditions; their influence on each other with ruling dynasties of that period, places and nations; and only then, their clear picture will come to light.”S It was difficult for both spiritual traditions to stand in their original form as they are parallel. Many elements were exchanged in due course, including several rituals. The adoration method of Abhiseka of the Vedic tradition was accepted into the Sramana tradition. Hindu deities of the Vedic tradition assimilated as Yaksa-Yaksi of the Tīrthankaras. The concept of Sarasvati is considered as a Sruta Devatā in Jainism while Laksmī stands for prosperity. Gaņeśa became a Pārśva Yakşa, to spread Mangala and Kalyāņa i.e. auspiciousness everywhere. A stotra was composed by Bhadrabāhusvāmī- II at the time of an epidemic, the chanting of which helps in reducing troubles//Uvasaggaharam Pāsam (Pārsva yakşa), Pāsam (Jina Pārsva) vandāmī, kammagaņa mukkam, Visahara, visa ninnāsam, Mangala Kallāņa Āvāsam.// Jainas do respect Brāhamaņas as they are considered superior in conduct and knowledge. Like the Sramana tradition Vedic tradition has also given importance to spiritual vision. The sources of the origin of both traditions are the same. Therefore the auspicious symbols, viz. Śrīvatsa, Svastika, a pair of fish, Kalasa etc. as well as many rituals are common to both.
1.4
The Glory of Jainism: Jainism originated in India, moved a little towards Asia and Europe, but was finally confined to India. Earlier it was known by such names as Ārhat, Vrātya, Śramaņa, Nirgantha, Nigantha, Anekānta, Jina dharma etc. The five tenets of Jainism are non-violence (Ahinsā), truth (Satya), non-stealing (Acaurya), non-accumulation (Aparigraha), and celibacy (Brahmacarya) like many other religions but of these, non-violence is
5 6
Jain S., Jain Dharma ka Saṁksipta Itihāsa, 2003, pp. 12-13. Rastogi S., Lakhanau Samgrahālaya ki Jain Pratimāyen, (Lucknow, Sri Bhārat Varsiya Digambar Jain Mahāsabhā, Eśabāga, 2002), pp. 2.

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a principal concern. It is a way of life comprising four reflections - i. Friendliness with all living beings. ii. Feeling happy at the sight of the virtuous. iii. Compassion for those in misery and iv. Equanimity to the non-virtuous. It believes that every soul is a potential God, and therefore by its own efforts, can reach the final goal of liberation (moksa). Moreover, a special feature of Jainism is Anekāntavāda - liberalism: A reality is
e seen from different points of views as truth is multifaceted; an object or a theory seems true from one point but may not be the same from another angle. Therefore one must respect the views of others.
1.5
The Centre of Indian Culture - Mathurā: Mathurā is very sacred and referred to as a 'Moksadāyī Tīrtha' in all Indian traditions - // Kāśī kāńcī ca Māyākhyā tvayodhyā Dvāravatyapi Mathurāvantikā caitāḥ sapta puryauca mokşadāḥ // The sloka from Garuda Purāņa states that Banaras (Kāśī), Kāñcī, Haradvāra (Māyā), Ayodhyā, Dvārakā, Mathurā and Ujjain (Avantikā), all seven cities are sacred. The city of Mathurā was at the crossroads of the "Great Caravan" route, joining the north eastern towns of Pāțliputra and Tāmralipti as well as southern towns like Avanti, Broach, Cambay, etc. with Gandhāra and other parts of the world. Thus Mathurā was connected with sea link by ports like Cambay and Broach. The rich city of Mathurā is situated on the western bank of the sacred Yamunā, at longitude 77° 41' E. and latitude 27° 28' N. It is 145 km away from Delhi and 58 km from Āgrā. The other names for this city from ancient times are Mahurā, Madhurā, Uttara Madhurā, Uttara Mathurā, Madhupurī, Madhuśikhā, Madhupaghana, Madhuban, Mathulā and Mahurāu. Ptolemy calls this city Modourālo. Mathurā being a business as well as an important pilgrimage centre for all three Indian religions is always advanced in art and culture. The city
7 Garuda Purāna, 2.28.3, in Sharma V. K., History of Jainism with special reference to
Mathurā, (New Delhi, D. K. print world (p) Itd. 2002), pp. 123. 8 Motichandra, Trade Routes in Ancient India, (New Delhi, 1977), pp. 164. 9 Devavimal, HirSaubhagyam- Rasa,(Mumbai, Nirnayasagar, 1900), pp. 729, 10 I) Sharma R. C. The splendour of Mathurā, (New Delhi, D. K. Printworld (p) Itd.,
1993), pp. 29. II) District Gazetteer, (Mathurā, 1968), pp. 1

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was prosperous so many people spent their profits in constructing shrines and idols for the religious needs of the society while rich Śresthis of the town employed skilled artists for constructing magnificent shrines. Many Jaina and Buddhist icons of Mathurā School available from Ahicchatra (fig. 1), Sārnātha and other places show the popularity gained by the Mathurā artists. An idol of Jina, an Ayāgapatta, a Sarvatobhadra idol, etc. assigned to the early Kuşāņa period were recovered from Ahicchatrall Some Buddha images of this School were also unearthed from Sārnātha. These show that artists from Mathurā were commissioned for carving the sculptures from remote places too. Before the Gandhāran artists arrived at Mathurā, the art School of Mathurā flourished in the Sauripura Janapada where Mathurā was its capital. Later on, these artisans were patronized by the Kuşāņa kings. The classical artists of Mathurā have produced gigantic images in round which continued up to the end of Kuşāņa rule. Some colossal Jaina images were also chiselled in round (J.7 L.M., fig. 2,3,4) by them. Many images have depiction of an ascetic, a deity, a devotees, a Caitya-vriksa (.25 L.M. + J.113 L.M.), a mythical animal similar to crocodile (fig. 91, 92)12, an inscription of a donor, etc. on the back and/or on the sides by them. The Indian cultural art of Mathurā is well reflected in the charming Šālabhañjikās in various postures showing their delicacy such as looking in a mirror (fig. 5), arranging hair (fig. 6), visiting religious shrines with offerings (fig. 7), lighting a lamp (fig. 8) etc. In this city cows and women are given best treatment as this is the city of Krsna. The popular lore of the city is"Gokul ki gau aur Mathurā kī chori karma futya ho to bāhara jāye.” Means the cows of Gokul and the daughters of Mathurā go out of the city only if their luck is unfavourable. To this day, the common practice in Mathurā is that every married girl visits her mother's place in the evening and comes back at night. Generally the girls are not married out of the town. The epigraphs of Jaina images also corroborate the
11 I) Rastogi S., Lakhanau Samgrahālaya ki Jain Pratimāyen, (Lucknow, 2002), pp. 33. II) Banerji R.D., "New Brahmi Inscriptions of the Scythian Period” E.I. Vo. X, (Calcutta,
G. Printing India, 1912): pp. 106-7, pl. II. 12 Edi. Pal Pratap Aditya, The Jain Art from India, (Los Angeles, County Museum of Art,
1996.) pp. 53.

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The Place of Mathurā in Jainism
tradition of honouring women, as the women wrote down their in-law's names along with their parental pedigrees (Luders List no. 29).
1.6
Historical Background: Mathurā has its own history since the Indus valley civilisation. The early terracotta figurines and other tools recovered, dating back to the 4th century B.C., are hand modelled!3. During the Rāmāyaṇa period Mathurā was ruled by Madhu, a powerful demon. As per legend after his death, his equally strong son Lavaņa ruled the territory. Due to his egoistic nature he challenged Śrī Rāma who later on sent his younger brother Satrughna to overpower him. The demon was killed by Satrughna and the region became free from the demon's rule14. Here, one Jaina stūpa was erected in the memory of the Seventh Tīrthankara Suparsvanātha as per Jaina scriptures 15 viz. Malayagiri-tīkā of Vyavahāra-cūrņi, Ogha-nirykti-tīkā, Yaśastilaka-campū, Tīrtha-mālā, Vividha-tīrtha-kalpa, etc. In the Mahābhārata age, Mathurā was the capital of Sūrsenadeśa, ruled by the Yadava kings. It was one of the fifteen Mahājanpadas. As referred, during the Nanda, Mauryan and Sunga rule, it was part of Magadha. Asoka built some Buddhist stūpas on the bank of the river Yamunā, as mentioned by Hiuen Tsang. Patanjali had also mentioned Mathurā’s prosperity16. In the 2nd century B.C. the city was invaded by Bactrian kings, but they did not stay for long. After the downfall of the Sungas Mathurā came under the Mitra rule, followed by the Saka-Kșatrapa rule. Of these, Rājubala/Rājulā and Šodāsa were remarkable. One of the branches of Sakas was subsequently known as Kuşāņa. A number of inscriptions with the dates of Kuşāņa kings Kaniska, Huviska and Vāsudeva have been found from Mathurā, showing their sovereignity in Mathurā. In the year 50 A.D. they extended their power to Takşaśilā and other states under the leadership of Kujula Kadphises. His successor Kadaphises II was a powerful ruler, also famous as Wemā. They constructed many temples and even installed idols at Mathurā. Most of the inscriptions of the Kuşāņa period provide us with the names of ruling kings and the
13 Trivedi S. D., A guide book to the Archaeological Section of the State Museum- Lucknow,
(Lucknow, Shivam Arts, 1997), pp. 12-13, fig. 6. 14 Sharma R. C., The splendour of Mathurā, (New Delhi, D. K. Print world (P) Ltd.,
1993), pp. 29. 15 See the detail in the chapter, The tradition of stūpa. in Jainism, in this book. 16 Sharma R. C., The Jaina Tirtha Karkāli, 1971, pp. 3.

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year of the establishment of the image or sculpture. This information is very important to know the period of ruling kings. In the 7th century, the city came under Harsa's rule and later, from the 7th to the 12th A.D., it was under the rule of Gurjara Pratihāras. The rich merchants and the artistic shrines of Mathurā always attracted invaders. During the reign of Kumārgupta-I, Mathurā became a victim of the Hūņa tribe. The invader from Gazni attacked the city in the year 1017 A.D. and destroyed many temples in and around Mathurā and looted its enormous wealth. Before invading Mathurā, the invader inquired about the shrines and habits of the people. While marching towards Mathurā, he noticed a great structure from a distance. The locals informed him that the structure was built by a deity17. It is possible that he might have seen the Jaina stūpa, with its huge dome and high pillars adorned by idols18. He looted Mathurā and destroyed all the shrines. The noble metal images which he carried away after melting were five red gold idols, each five yards high, studded with very precious emeralds and gems and two hundred silver idols. 19 This shows that extremely costly metal idols were cast at Mathurā. (Two bronze idols of the Kuşāņa period were recovered in excavations at Sonkh20 between 1966 and 1974). Growse states in his memoir: “The city was given up to plunder for twenty days. Orders were given that all the temples should be burnt with naphtha and fire and levelled to the ground. The total value of the spoil has been estimated at three million rupees. The number of Hindus taken captive exceeded 5000.”21 However, this was not the end of prosperity and culture of Mathurā as it revived within five years. Jaina idols with dates ranging from 1023 to the 12th century on inscriptions were obtained from the site Kankālī Tīlā. These inscriptions highlight the liveliness and endeavours of the people of Mathurā. A few Hindu temples were also constructed after that period.
17 Growse F. S. and Oxon M.A., Mathurā; A district Memoir; (Delhi, Pilgrims Book Pvt.
Ltd. 1st edi. 1874, 2nd 1880, 3rd 1883), pp. 32. 18 Ibid. 19 Ibid, pp. 33 20 Sharma R.C., The Splendour of Mathura, 1993, pp. 39. 21 Growse and Oxon, op. cit., 1880, pp. 33.

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In the fifteenth century (1488-1516), Sikandar Lodi plundered the temples and ordered the massacre of citizens who refused to be converted. Growse also narrates in his memoirs about Lodi's persecution. He sourced the information from 'Tarikh-e- Dāoudi' of Abdullah, a writer in the times of Jahangir: - "He (Lodi) ruined the shrines of Mathurā, turned their principal temples into sarāyās (dharmaśālās) and colleges. Their stone idols were given away to butchers. All Hindus in Mathurā were strictly prohibited from shaving their heads and beards and performing their ablutions22”. In the reign of the Mughal emperor Akbar, Mathurā's religious culture revived while Jahangir and Shahjahan remained indifferent towards other religions. But Aurangzeb followed a different policy and caused serious harm to the culture of Mathurā. The most valued temples were demolished or replaced by mosques23, the beautiful images were destroyed and many saints left the city. Nadir Shah also invaded the city in 1739 and put an end to all the rituals involving idols. Then Ahmedshah Abdali looted the city in 1757 and massacred all its inhabitants. The destruction he caused can be judged by the damaged temples, stūpas and mutilated idols. The river Yamunā is said to have remained red for seven days, with human blood flowing in its stream.
1.7
The importance of Mathurā in Jaina Culture:
There are references to Mathurā in Anga and Upānga literature. Jñātā-dharma-kathā refers to the city of Mathurā while describing the Svayamvara of Draupadī. Prajñapanā-sūtra includes Mathurā and Šūrasenadeśa in 25 Āryadeśa. The city was acceptable to the ascetics for sojourn during rainy season. Sthānānga-sūtra and Niśitha-sūtra counted Mathurā as one of the chief capitals in India24. The 22nd Tīrthankara, Aristanemi of Yādava dynasty was the cousin of Krsna and Balarāma. The Harivaṁśa-purāņa (Jaina) narrates many incidents of their life. Many images of Aristanemi, flanked by Balarama and Krsna are obtained from the Jaina stūpa site. As per Vividha-tīrtha-kalpa, Pārsvanātha came to Mathurā, saw the golden stūpa and advised to cover the same with bricks and sand, to protect it from invaders. Vardhamānasvāmī also visited the Vrajabhūmī. The king Uditodaya (Bhidāma), welcomed him, who
23
22 Growse F. S. and Oxon M.A., Mathurā; A district Memoir; (1st edi. 1874, 2nd 1880,
3rd 1883), pp. 33.
Sharma R.C., The Splendour of Mathura, 1993, pp. 31. 24 Sharma R. C., The Jaina Tirtha Karkāli, 1971, pp. 3.

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1.8
later took Dīksā from him 25. The past history of Mathurā is narrated by Jinaprabhasūri in Vividha-tīrtha-kalpa in the 13th century. He talked about twelve vanas/forests, one of which was Bhamdīrā where Yakşa Sudarśana's shrine was situated. Pārsvanātha visited this shrine26. This shows that yaksa worship was in vogue in Jainism. Jaina culture at Mathurā: Jainism has considered Mathurā as a holy city since ancient times. The excavations at Mathurā brought to light many symbols that indicate the worship of Jina on Āyāgapatas (tablets of homage). Here the concept of adoration of the three jewels i.e. the first step in getting liberation/ moksa - Right knowledge, Right faith together with right conduct is depicted on Ayāgapața. Symbols such as caitya-tree, śrīvatsa, stūpa, wheel, svastika, a pair of fish etc. were also seen either-on Āyāgapața or available independently for veneration. One elephant pillar obtained from the site was the object of veneration as indicated by the inscription on it. Another pillar assigned to the 2nd century B.C. has a lion on its top and is being worshipped by a couple by circumnavigating (fig. 9, 10). Due to the prevailing tree cult practice, many times Arhata idols were shown with the branches of the caitya tree and așța pratihārya in the nimbus. Besides complete sculptures, some mutilated images, heads of Jinas, door lintels, base of the pillars, chatra etc. are obtained from the site. Of them, one head is 75 cm in height, indicating the gigantic height of images at stūpa and shrines. In Jainism, 24 Tīrthankaras are worshipped but only one image, depicting 24 Tīrthankaras (Covisi) having Rşabhadeva (fig. 11) as the principal (Mulanāyaka) was found from Kankālī Tīlā assigned to the 3rd century A.D.27. Here colossal images of Tīrthankaras were in vogue, particularly Jina Rsabhadeva (fig. 12). Here four Jinas - Rsabhadeva, Aristanemi, Pārsvanātha and Vardhamānasvāmī are more in number while two images of Munisuvratasvāmi28 and one each of śāntinātha and Sambhavanātha
25 Sharma R. C., The Jaina Tirtha Karkāli, 1971, pp. 3. 26 Shah U. P. and Ernest Bender, Mathura and Jainism in "Mathurā- The cultural Heritage”
ed. Doris Meth Srinivasan, (Delhi, AIIS, 1989), 211. 27 Smith V., Jaina Stūpa and other Antiqities from Mathurā (Allahabad, ASI, New Imperial
Series, V. XX, 1900) Pl. XCIV. 28 I) H. Luders, List of Brahmi Inscriptions From Earlier Time, in Appendix, E.I. Vo. X,
ed. Sten Konow (New Delhi, ASI, 1909-10), no. 47, 9. II) Banerji R.D., E. I. Vo. X: 1901-10, no. VIII.

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have been found. At Mathura, Neminatha is carved with his cousins, Kṛṣṇa and Balarama i.e. all three are worshipped together as members of the Yadava family. Such images are found only at Mathura, from the Kuṣāṇa period till the medieval period. As per the Jaina and Brāhmaṇa scriptures, Kṛṣṇa, with his family of Yadavas, shifted to Dvārakā to avoid war and to live peacefully. Ariṣṭanemi's three kalyāṇakas took place at Girnara near Dvārakā. He preached the tenets of Jainism before Pārsvanātha.
Besides idols, the skilled artists of Mathurā also depicted episodes from the life of Jinas in a beautiful way. One such sculpture shows the apsara Nilanjana dancing in a hut with pillars supporting the roof, while men are shown playing music, with a drum and also with a metal plate and a stick. It is a scene from the life of Rṣabhadeva who left home and renounced the world to seek spiritual knowledge after watching her dance (fig 13). The frieze is in three parts - a dance scene, Rṣabha as a monk holding a Pratilekhana and as a meditating Jina. This is one of the earliest depictions of dance.
Another early Jaina work of art shows the transfer of the embryo of Mahāvīra, from Devānanda of the Brahamaṇa clan to Trisala of the Kṣatriya clan (fig. 14, 15). The operation is carried out by the deity Naigameśa, the divine commander of Indra. As per the Mathura School, the sculpture on the reverse is carved with the outcome of the act on obverse, illustrating the joy after finishing the difficult task. Here women are shown engaged in a folk dance of Mathura style to the music of a harp. The offerings of sweets etc. are seen under the seat of the deity Naigameśa. The theme is comprehensively depicted by the artist, including both the mothers of Mahāvīra in a blessing and another woman with a flywhisk.
At Mathura, the largest number of epigraphic records in Brāhmī are associated with Jaina images, āyāgapaṭas, toranas etc., which establish the systematic workmanship of the foresighted Jaina Sangha. They mention the year of establishment, the name of the ruling king, caste of the donor, name of the inspired preceptor with his genealogy having kula gana and śākhā, the type of sculpture and the place where it was established.
Of the 132 Brahmī inscriptions of Kuṣāṇa and post Kuṣāņa period from Mathurā mentioned in Luders' list of Brahmī inscriptions, 84 are credited to Jainas, 33 to Bauddhas and 15 do not mention any particular creed.

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Mathura was a famous centre for Jainas and continued to be so, up to the reign of Kusana king Vasudeva (rule for 50 years) as per the available image inscriptions. In the view of B. Laufer, Buddhism might have been strongly influenced by Jainism during that period29.
The prominent Jaina Sangha of Mathura was known as Mathura Sangha. This Sangha established many idols and toranas at Lädanun in Rajasthan in the 12th century with the blessings of Guru Anantakirti30. Besides the stupa and other temples at Kaňkālī Tīlä, a temple at Corăsi (fig. 16) was already there, built in the memory of Jambusvāmi31. His foot print (fig. 17) was recovered and established at this location. Jainism is a religion which combines science with spirituality. Fasting is an essential step towards spiritual development. Here at Mathura, Śrāvaka-Śrävikäs performing austerities could be judge from a pedestal of Tirthankara Vardhamana, dated, Kuṣāņa era 50, obtained from Kankäli Tilä. It has an inscription that the same was established by a lady. Vijayaśrī, who fasted for a month (J. 22 LM., fig. 18).
The Jaina culture at Mathura is narrated in the Jaina epic 'Yaśastilakacampü'32 composed by Somadeva in the 10th century CE, which describes. many myths and legends of Jainism. According to it, Jainas and Bauddhas lived side by side in the city of Mathura. The chief queen was at follower of Jainism and organised a procession in honour of Jinas every year. The other queen was a Buddhist and tried to hinder the tradition. and replace it with a new procession, favouring the Buddha. The first queen approached the sage Somadatta, who was once a king, but later on accepted monkhood. He was performing austerity in a jungle near Mathura. He took the help of his Vidyadhara son Vajrakumāra for this purpose. Vajrakumāra organised a huge procession with flags, banners, parasols, golden jars, offerings in large plates, chariots, elephants, decorated
29 I) J. E. Van Lohuizen- de. Leeuw, The Scythian Period, (Leiden, E. J. Brill, 1949) Pp. 153.
II) B. Laufer, Citra laksana, 1913, fn. pp. 17-18., fn. on pp. 153 in The Scythian Period.
30 I) Samvat 1206 Vaisakha śu. 13, shri Mathura Sanghe. Jima..Śrī Anantakirtī Surinam pratisthita....//
II) Samvat 1219" Vaisakha su. 3 shuke, //shri Mathura Sanghe. // Acharya Sri Anantakirti....Sarasvatim Pranamati // Shubhamastu/ /
- Dr. Jethamal Sethi, Shri Digambar Jain Bada Mandir ka Puratatvik Vaibhava, (Ladanun, dist. Raj., Jain Mandir, 2nd edi. 2009)
31 Fn. 9 of this chapter.
32 Handiqui K.K., Yasastilaka-campu and Indian culture, (Sholapur, 1949), pp. 416-17...

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carts etc. with his super natural powers, running for eight days. Then the sage erected a stupa which was called 'Devanirmita'. This legend was recorded in the 10th century A.D., nearly 400 years earlier than Jinaprabhasūri's account of Mathura in Vividha-tirtha-kalpa.
33
From the Campū Kavya of Somadeva, it seems that in Mathura, kings and subjects were first influenced by Jainas. They had introduced a yearly procession during the Jaina festival. The Buddhist queen's attempts to organise a rival rathayātrā failed due to Vajrakumāra's intervention. Buddhists' efforts to spread their religion didn't meet with success at that time. Even this narration of early Christian era is archaeologically supported. A torana archway33 (fig. 19, 20) depicts on both sides a city procession, as mentioned by Somadeva, which are easily recognisable on the door lintel.
Writing and revised Jaina Agamas in councils were called vacanās. The first vācanã took place at Paṭalīputra in Magadha, 160 years after Mahāvīra's nirvāṇa, the second one took place at Udaygiri-Khandagiri, 300 years after Mahāvīra's nirvāṇa, i.e. 2nd century B.C. while the 3rd one at Mathura under the leadership of Arya Skandilācārya, 827 years after the nirvāṇa of Mahāvīra i.e. in the 3rd century A.D. He had carried out Agama Vacana in the front of Jaina Sangha at Mathura. During Vihara, Ārya Rakṣitasūrī stayed at Bhūta-guha-caitya, as pointed out by R. C. Sharma34. vācanā period at Mathura. Many seers have referred to Mathura's stūpa in their literature till the end of Akbar's rule. During the vacanā convention, many Acāryas and ascetics must have gathered for a long period in that city. In general the Sangha of that city took the responsibility of their dietary (gocari) and other needs. The reference of restoration of damaged manuscripts of Maha-niśitha-sutra by Jinabhadra Kṣamāśramaņa at stūpa is available in Vividha-tirtha-kalpa. Here, the Acarya first pleased the deity (Śrutadevatā) with austerity and meditation. Then, with her blessings, the same was rewritten. This information shows that at the time of vācanā at Mathura, some scriptures were written and stored at the stupa.
Jina images are also obtained from Cobārā Tīlā, Mahāban, Mukund kuvā and other places, besides Kankālī and Corasi Tīlās. 'Mukund' is the name of the yakṣa where the famous Lonaśobhika's Ayagapata was
33 Smith V., Jaina Stupa and other Antiqities from Mathura, 1901, pl. XIX. 34 Sharma R. C., The Jaina Tirtha Kankali, 1971, pp. 4.

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obtained flanked by two Śālabhañjikās J63 and J64 MM., (fig. 21, 22). This Āyāgapața informs us that she erected a hall for prayer, a reservoir and a shrine (Arhatāyana).
1.9 The grandeur of Mathura in Jaina Tradition:
In Brahat-kalpa-bhāsya, there is a mention of 96 villages around Mathurā, where Arhat images were established for ensuring good fortune. Such type of information is also provided by Jinaprabhasūri, that the local people installed Arhat images on the door lintel for protection as stipulated by the deity. The city of Mathurā became famous by Kevali Jambūsvāmī who received Kevala-jñāna here. His Nirvāņa took place at Corāsī which later on recognised as a Siddhakşetra. At Corāsī Tīlā, the ancient inscribed foot print of Jambūsvāmī (fig. 17) was obtained with other magnificent sculptures such as door lintels, Sālabhañjikās, idols, etc. As mentioned in the 17th century Rasa by Devavimalji, that Hirvijayjī arrived at Mathurā on his way to Agra and adored 527 stūpas. Later, in Vikram Samvat 1667 Hirvijayaji's disciple Vivekaharsa-gani established Jambusvamī's foot print35 at Corasi temple afterwards they were damaged by invaders. The beautiful Digambara Jaina shrine was constructed in early 19th century by local Sangha with a caitya-stambha in the court-yard. During excavation at Kankālī Tīlā in December 1889, three images of Svētāmbara sect were obtained from a shrine close to the central shrine/ stūpa. They were established at "Śrī Devateti’, meaning the place established by deities'. The city was plundered by Gazni in
35 समहं मथुरापुर्यो यात्रां पार्श्वसुपार्श्वयोः ।
प्रभुः परीतः पौरौघौश्चारणर्षिरिवाकरोत् ।। २४९ ।। प्रभु हीरविजयसूरि: मथुरापुर्यां मधुपघ्ननगरे समहं सोत्सवं चारणर्षिविद्याजंघाचारणादिमुनिरिव पौरौघै नागरिकनिकरैः परितः परिवृतः संघेन सहितः पार्श्वसुपार्श्वयोस्त्रयोविंशतितमसप्तमजिनचंद्र प्रतिमयोर्यात्रामकरोच्च कृतवान् ।। जम्बू प्रभवमुख्यानां मुनीनामिह स प्रभुः। ससप्तविंशतिं पञ्चशती स्तूपान्प्रणेमिवान् ।। २५० ।। स प्रभुहीरसूरिहैव मथुरानगर्यां जम्बूनाममहावीरदेवस्य द्वितिय पट्टधरः,चरमकेवली प्रभवनामा तृतियः पट्टधरः, तौ मुख्यौ प्रकष्टावाद्यौ वा येषां तेषां मुनिनामुपलक्षणात्साध्वीनामपि परं तन्मध्यवर्तिनामेव सहसप्तविंशत्या वर्तते या तादृशीं पञ्चशती स्तूपान् प्रणेमिवान्नमति स्म । पञ्चशती प्रभवस्वामिसहिता चौरसाधूनां जंबूस्वामियुक्तानामष्टानां कनीनां नवनामपि मातृपितृणां नव त्रिभिर्गुणिताः सप्तविंशतिर्जातं यथोक्तमानं सप्तविंशत्यधिका पञ्चशतींस्तूपाः सन्तीति ।। -मथुरायात्रा ।। हीरसौभाग्यम् । १४ सर्गः ७२९,
(Devavimal, HirSaubhagyam Rasa, 14th Sargah, pp. 729).

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1018 A.D. The above images, established in 981 A.D., 1023 A.D. and 1068 A.D. respectively, show that Jaina Sangha adoring the stūpa and the shrines before and after the stūpa was attacked by Gazni. Many inscribed images of both traditions of the medieval period were also available in and around Mathurā after the chief excavations in the 19th century at Kankālī Tīlā. This reveals the flourishing Jaina culture in Mathurā region. Most of these images are covered in the recently published 'Catalogue of Jaina Antiquities of Mathurā' by Government Museum, Mathurā, in 2003. Some of them are described below: i) An Ādinātha image (B.21, MM) with Nagari inscription ‘Om Pandīta
Sri Ganavaradevaya'. Such words are also available on the paintings
in Ellora caves36. ii) A Pārsvanātha image (accn. No.40.2874/2 MM) with Nāgarī inscription
of the year Vikram Samvat 1017, 'Śrīmūla sangha; Śrāvaka vanika
jasarāka bhārya somā...' found from Mathurā. iii) Saṁvat 1104 Śrī Bhadreśvarācārya Gaccha Mahilā. (Neminatha B.22,
MM) iv) Śrī parašanāthāya; 11 Lalikamra.. Yaḥ 1.. v) A very archaic image of Kșetrapāla with a Jina on his head found
in 1960. Size 13 inches, (60.4843 MM., fig. 23) As noted by Dr. Sharma about Fuher's area excavation at the Kankālī mound from 1888 to 1891 was a great archaeological mission, revealing numerous Jaina sculptures which were removed en bloc to the Lucknow Museum. This large collection, ranging from the 2nd century B.C. to the 12th century A.D. proves the existence of at least two Jaina stūpas at site of Kankālī Tīlā37.
1.10 Jaina Stūpa at Mathurā:
In the Anga literature of Jainism, the word 'stūpa' is not mentioned independently. Instead it comes in such combination as - "caityastūpa’ (“Caiya-thūbha'), ‘stūpa-maha' (“Thūbha-maha') and 'Thūbhamva-caiyakadam’38. In Sthānānga-sūtra, the 'Caiyathubha' is mentioned
36 Dhavalikar, “Wall Paintings at Ellora: Rock cut Caves at Ellora". Paper presented at a
seminar for the Asiatic Society, Mumbai Uni. Mumbai, March 3-5, 2012. 37 Sharma R. C., The Splendour of Mathura, 1993, pp. 34 38 See the fn. 14 in chapter of this book "The Tradition of Stūpa in Jainism

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The Jaina Stupa at Mathura: Art & Icons
while describing the Nandīsvara-dvīpa39. In the Bhagavatī-sūtra, there is a reference to 'Arihanta-ceiyaņi' and the Sūtra Upāsaka-daśānga also mentions an “Arahanta-ceyāim' while Uñātā-dharma-kathā refers to the stūpa as a 'thūbhiā'/stūpikā40. In Samvayānga and Jambūdvīpaprajñapti, the word 'thūpa' is used as a 'Ceiya-khambha' which later on came to be known as Mānastambha41. The practice of erecting Mānstambha is still continued with the Digambara tradition. Avaśyakaniryukti refers to the erection of stūpa/thūbha at Aștāpada- the Nirvana place of Rşabhadeva by his son Bharat Cakravartī. Āvaśyaka-cūrņi talks about Munisuvratsvāmi's stūpa at Vaiśālī while illustrating the story of 'Pariņāmic Buddhi'. These both Jaina stūpas are now extinct. The reference of Mathurā's stūpa is first available in Malayagiri-tikā42 of Vyavahāra-cūrni and Vyavahāra-sūtra. Afterwards in the scriptures of both traditions viz. Brahat-kalpa-bhāșya, Yaśastilaka-campū, Vividhatīrtha-kalpa etc. the stories about Jaina stūpa at Mathurā are available with plenty of details. Jinaprabhasūri referred to Acārya Bappabhattasūri's visit to Mathurā in Vividha-tīrtha-kalpa, accordingly Ācārya had established Mahāvīra's image in Vikram Samvata 826 i.e. 769 A.D. At that time he had advised King Ama to repair the stūpa43. The king restored it and even prepared a kupa or kunda near the stūpa. Sūriji also talked about twelve Vanas around the city, one of which was Bhandīra - the shrine of Sudarśana Yakşa. As per the kalpa, Bappabhattasūri adored Rşabha at Śatruñjaya, Nemi at Giranāra, Munisuvrata at Bharuch, Vira at Mondherā, Supārsva at Mathurā and was taking his Gocari/food at Gowalgiri (Gwalior). This information suggests the power possessed by Acārya for flying to various Tīrthas for adoration. The Āyāgapața of Loņaśobhikā (fig. 41) of early Kuşāņa era has a carving of two Jaina monks, adoring the stūpa from the sky. One of the pedestal of Munisuvrata (J 20 LM., fig. 24) obtained from the stūpa has an inscription that the same was
39 See the fn. 14 in chapter of this book 'The Tradition of Stūpa in Jainism' 40 Jain S., Jain Vidyā ke Ayam - Hindi (Banaras, Pārsvanātha Sodha Sanasthān, 1998) pp.
716. 41 Ibid 42 See the fn. 34 in chapter of this book The Tradition of Stūpa. in Jainism..' 43 I) Jinaprabhasuri, Vividha-tirtha-kalpa, 9th ch., Mathurapuri-kalpa, edit. Muni Jinvijayaji
(Calcutta- Bombay, Simghi Granthamala-10, 1934), pp. 19. II) Smith V., op. cit., 1900, pp.13.

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37
established at 'Devanirmita Stūpa' in Kuşāņa year 79. Thus, there was a possibility, that it was constructed more than 3000 years ago. Here, the large and broad stone channels are found indicating that they were constructed for water supply and drainage system44 Vincent Smith referred to Tirtha-kalpa of Jinaprabhasūri based on ancient data that this stūpa was the oldest known building structure in India. He noted, “The sanctuary was restored in honour of Pārsvanātha by Bappabhattasūri, 1300 years after Mahāvīra had reached perfection. Assuming the ordinary received date B.C. 527, for Mahāvīra's Nirvāņa, the restoration of the stūpa may be dated about 1300 years later, or A.D. 750. Its original erection in brick in the time of Pārsvanātha, the predecessor of Mahāvīra, would fall at a date not later than B.C. 600. Considering the significance of the phrase in the inscription built by gods' as indicating that the building at about the beginning of the Christian era was believed to date from a period of mythical antiquity, the date B.C. 600 for its first erection is not too early. The stūpa of which Dr. Fuhrer exposed the foundations is the oldest known building in India45". In the year 1836 A.D., some ancient sculptures of Gandhāra schoola rail post showing a female figure holding a cage and standing on a dwarf and the so-called silenus group 46 were found accidently in Mathurā while constructing a building. Finding of such sculptures put the archaeologists in surprise so they carried out excavations on such mounds like Cobārā, Laksmana Tīlā, Jamālpura gadhi, katrā, Corāsi, etc., Kaňkālī Tīlā was one of them. The inscriptions of some of the artefacts reveal that from 2nd century B.C. some Jaina shrines existed at Mathurā. The representation of stūpa on sculptures is available in two ways, either as a chief theme or as a symbol on Āyāgapata. Loņaśobhikā and Sivayaśā's Āyāgapațas have a depiction of stūpa as a main theme, adored by celestials. The symbolic representation of the stūpa is available on the sides of Āyāgapatas, toraņas or on door lintel also. On the Ayāgapața of Kanha, it is carved between four Jinas in upper register while the lower contains a deity named Vidyā, a Jaina monk-Kaṇha, a lady ascetic and other devotees. Here a stūpa is adored with Jina images. From
44 Sharma R. C., 1971, op. cit. pp. 9 45 Smith V., 1900, op. cit. pp. 13 46 Ibid. pp. 3.

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the linguistic and palaeographic ground, Ayagapaṭas were assigned to 1st B.C. The depiction of the stupa on the same was available till 1st century A.D. only. Later on, Ayagapata and the representation of stupa both slowly reduced. (It seems that the erection of stupa was either stopped or changed to Samavasarana concept.)
When the excavation was carried out at the huge site Kankālī mound (Jainī Tīlā), Mathura, revealed the fact that the Jaina stūpa did exist and was adored by the Caturvidha Sangha. Here, pedestals of many images have depiction of the same i.e. Sadhu, Sadhvī, Śrāvaka and Śrāvikā with Dharma-cakra in the centre. Great importance is given to seers as they carry traditions through ages. Jainas' Ardhamāgadhi and Šaurseni literature (Agamas) were carried forward by reciting tradition from Acāryas to their disciples. They were composed between 5th century B.C. and 5th century A.D. Due to a severe famine, there was a loss of memory among Jaina monks, therefore, later on, Agāmas were revised and memorised by monks, in councils held for the same purpose known as Vacanã47. Five Agama vācanās held at Pātaliputra, Kumāri hill, (as per the inscription of King Kharvel) Valabhipura, Mathura, and again at Valabhipura at different intervals. The third and fourth vacanās were contemporary.
Kankālī mound stands between Bhutesvara-temple crossing and B.S.A. college in the south west part of Mathura. According to ASI reports, Cunningham started excavation in 1871. He gave the description as well as the measurement, including the height of the raised portion of the said mound. He noted that the higher portion "had been repeatedly burrowed for bricks". The mound was 400 feet long from west to east and nearly 300 feet wide with a mean height of 10 or 12 feet from ground level. At the eastern end the height was 25 feet with a breadth of 60 feet, and a square at the top, while the base was 150 square feet48. Mr. V.A. Smith also remarks that it long served as a quarry for bricks49. He gave the measurement of the Tīlā - nearly 500 feet long and 350 feet broad as per the plan of excavation (Plate. 1 JSAM, fig. 25, 26 and 27). The same was explored at different intervals by ASI officers as stated below
47 See 'Vacanā Table' in this book.
48 Henrich Luders, ASI report 3, 1873: 19. Mathura Inscriptions unpublished papers, edi. Klaus L. Janert, publ. cottingen- Vandenhoeck and Ruprecht 1961, pp 39. 49 Smith V., 1900, op. cit. pp.1.

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The Place of Mathura in Jainism
The first Director General of ASI General Cunningham excavated the western end of the Tilä in March and November 1871.
Then Mr. F. S. Growse conducted excavation in northern portion in 1875. He was magistrate of Mathura and later on became a collector. Harding, a predecessor of Mr. Growse, Dr. Burgess and Dr. Fuhrer also made some explorations during this period.
General Cunningham again carried on the excavations in 1881, 1882, and 1883 to get more material and inscribed images.
After Cunningham's work on the site between 1881 and 1883, it was again resumed by James Burgess, and then by A. Fuhrer to prove the antiquity of Jainism. They conducted excavations in the eastern part of the Tila in different seasons in the year 1888-89, 1889-90, 1890-91 and 1896. Dr. Fuhrer discovered the largest number of Jaina sculptures. from here during the above period as referred in the introduction, of the book by V. Smith, "JSAM". Growse trenched the Kankālī Tīlā in 1873/74, reported that a fragment of carved Buddhist (?) pillar was set up there in a small shed on its summit known as goddess Kankali (fig. 28) by which the Tila is known. He also noted that the hill was called Jaini Tila50 without giving reference. It is possible that, at that time, local people may be calling it by this name. As per H. Luders, the name 'Jainī Tīlā' was not given accidently, but proved by all excavated material which were purely Jain, approving it to be a Jaina monument. The same was expressed by Cunningham that under the mound, there was once the site of an ancient Jaina establishment, F.S. Growse wrote the book 'Mathura-A district Memoir' in 1875. He published the revised edition of the same in 1880 and third in 1883. At that time, the Jainī Tīlā site, Kankālī mound was not fully explored so he was not aware of the obtained pedestal of Jaina image (LM., J 20, fig. 24) having the inscription 'Establishing the same at stūpa constructed by a deity' and its reference in Vividha-tiirth-kalp searched by Bulhar.
A 'Plan' of excavation at Kankālī Tīlā shows the remains of a great number of buildings, which were difficult to identify, except the foundation of Jaina brick stupa32, situated at the eastern end of the site, and two large temples (Śvetämbara and Digambara each).
50 H. Luders, op. cit. 1961, pp.40.
51 Smith V., 1900, op. cit., pp. 1- 3.
52 The stupa was ancient as per image inscription- 'Deva Nirmita Thūpa' on J 20 LM. dated 49 or 79 Kuṣāņa year.

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The exploration detail as noted by Fuhrer to Bulhar, that to the west of stūpa i.e. in the centre of the site, there were remains of a Svetämbara temple, and to the west of these remains, there was a second large temple, which in Fuhrer's opinion belonged to the Digambara tradition$3. A task of preparing a book on the excavated material was given to Mr. V.A. Smith. His book "The Jain Stupa and other Antiquities of Mathura" provides guideline to historians and students. He mentioned the lack of records from where the material was found. The plan of the excavated parts of Kankālī Tīlā published by him shows the position of the stupa, with its foundation and the remains of many buildings. (fig. 27).
In the year 1890-91, 737 remnants, comprising beautifully finished panel doorways, columns, complete railings with copings and bars, toranas, etc. were forwarded to Mathura and Agra Museums. In the same year, these artefacts were sent to Lucknow Museum, Fuhrer counted 608 maunds/12-160 Kg (a ton and a quarter) by weight of all specimens34
R. C. Sharma also noted that in the time of Pārśvanatha, the golden stūpa was encased with bricks and afterwards a stone temple was built on the same. Tirthankara Pārsvanatha is a historical personality and his period is assigned to 8th century B.C. If the monument was renovated as early as 8th century B.C., its establishment must have been a few centuries earlier than that. On the basis of inscriptional evidence of the Kuṣāṇa period and the literary tradition referred here, the Jaina monument of Mathura should be the earliest shrine in India55.
The excavated sculptures comprise of beautiful Śālabhanjikās, decorative motifs and life incidences of Jinas, credited with outstanding merits, having the message of spirituality. Many elegant Ayagapatas were carved with the theme of stupa worship.
The flat roof of a shrine, (fig. 131) where the ceiling has a lotus carving under which any deity can sits is obtained from Mahābana. Here eight auspicious symbols come over the devotee. Such carving could be seen in many Jaina shrines.
53 H. Luders, op. cit. 1961, pp. 40.
54 I) Ibid, pp. 41 and fn,
II) Smith V., 1900, op. cit., pp. 3
55 Sharma R.C., "Mathura - A Case Study" in Perceptions of South Asia's Visual Past, ed. Catherine B. Asher and Thomas R. Metcalf, (New Delhi, AIIS, Swadharma Svarajya Sangha Madras and Oxford & IBH publishing Co. Pvt. Ltd. 1994), pp. 118.

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41
1.11 The Elucidation of Jaina Tradition through 'Deva Nirmita Stūpa’:
To comprehend the history of Jainism many excavated artefacts and inscriptions from Mathurā's stūpa play an important role. It is impossible to judge Jainas' past without knowing them. They provide the authentic
ds of Jainas' sects and sub-sects. The related Jaina terms - Mula Sangha, Māthura Sangha, Gaccha, etc. are available on inscriptions. Here Jaina's ideals like austerity, detachment, Rathayātrā, the Sālabhañjikās with offerings, etc. have been chiselled on sculptures marvellously. The inscribed ascetic order kula, gana and sākhā have their roots in Kalpasūtra, Nardisūtra and other Therāvalis. Kotika gana and Veri śākhā still continue with Svetāmbara tradition. The compilation of Jaina literature at Mathurā must took place at Deva nirmita stūpa, as referred in Vividha-tīrtha-kalpa. Acārya Ksamāśramana adored Srutadevi Sarasvati at this stūpa. Here, the world's most ancient image of Sarasvatī with the inscription of establishment in Kuşāņa period holding folded Manuscript was brought to light. The Sarvatobhadra images of Kuşāņa period are the unique product of Mathurā art school. The findings of inscribed Jaina images of early and late Kuşāņa period put western scholars in amazement, as they considered Jainism not as a separate religion, but an off-shoot of Buddhism. They wanted to know the fact, regarding authenticity of Jainism before Mahāvīira. Historians like Lassen, Barth, and Albrecht Weber believed it was a Buddhist schism, while Princep, E. Thomas, Mrs. Stevenson, Jacobi and some other historians held that it is older than Buddhism56. To avoid conflicting situations, a debate was held among them for verification. One theory believed that Jainism arose out of Buddhism, while another theory strongly opposed this on the ground that Niganțhas or Nirgranthas or Jainas existed before Gautam Buddha - the founder of Buddhism. One of the participants, Herman Jacobi, proved from Pāli literature that Jainism did not arise from Buddhism and the 23rd Tīrthankara Pārsvanātha lived before Buddha. Other participants, Mr. Lassen and Mr. Barth, doubted the authenticity of Jainism before Mahāvīra, as it was fixed mostly from Svetāmbara canon. During this period, J. G. Buhler entered in debate with his immense knowledge of seventeen years of moving around in India. He had sent much Jaina literature to Europe in the form of Manuscripts. He sided with Barth and Lassen earlier, but afterwards he supported Jacobi. In the meantime, Cunningham had discovered some
56 H. Luders, 1961.op. cit., pp. 40.

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The Jaina Stupa at Mathura: Art & Icons
inscribed Jina images from Kankālī Tīlā. Buhler wanted to clear Barth's doubts, so he asked James Burgess to resume the excavation at Kańkālī Tīlā, to get more inscribed sculptures. The exploration was carried out again between the year 1888 to 1891 A.D., which comprised plenty of images and other important sculptures from Kșatrapa to Gupta period including :i) A relief presenting stūpa worship by Kinnaras and Suparnas (fig.
19, 20) ii) An image of Rşabha surrounded by 23 Tīrthankaras (fig. 11), iii) Two colossal images dated year 1038 and 1134 (JSAM, pl. XCV,
XCVI), iv) Some heads of Jinas and four inscribed pedestals. The obtained images bore inscriptions which provided evidences to Buhler. Thus, inscribed sculptures from Kaňkālī Tīlā, Mathurā, have proved the authenticity of Jainism. This discovery made significant addition to both history as well as Indian art schools. Fuhrer could not keep systematic records of excavation and the death of Buhler in boat accident at Europe in 1898 created a further vacuum, as he alone held the detailed data of the excavation, while Fuhrer's resignation from ASI job in 1898 worsened the situation. But the efforts of scholars didn't go in vain as Kankālī Tīlā brought to light many Jaina remnants with Brāhmī inscriptions of Kuşāna era. Thus, to prove Jaina antiquity from remote time, the Kańkālī Tīlā - the oldest Jaina stūpa site was excavated in a very haphazard and unsystematic manner. While exploring such a valuable site, its architectural aspect was not considered. After discussing much on Jainism and seeing all scriptural data, the historians confirm that Jainism was established by first Tīrthankara Rsabhadeva, long before Buddhism. From the records of donation of inscriptions, it appears that the different communities like goldsmiths, iron mongers, sailors, perfumers, courtesans had established the sculptures and shrines, which proves the city's secular fabric. Here, some of the donor's names like Ujhatikā, Okarikā seem to be from outside of India. Here, female were more in numbers than male in a Sangha. This stūpa was 'Deva Nirmita Vodva Stūpa' as per records of donation of the year 49 of Kuşāņa era engraved on the pedestal of Munisuvrata (or Arhata Nandyāvarta)

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The Place of Mathurā in Jainism
image. The earliest epigraph recorded here is of 2nd century B.C. and the latest is of 12th century A.D. Thus, the Jaina Sangha's fourteen hundreds years' history is available at this place. This is enough to know the ups and down of Jaina Sangha. To study the evolution of Jaina sculptures, this is the best site, as, from pre Kuşāņa to medieval period, inscribed images of Tīrthankaras are chiselled here. Here, the earliest depiction of Balarama (G. 215LM, fig. 29), the images of Kartikeya (42.2948MM), the Sun with a head gear and shoes (12.269 MM, fig. 30), Kubera (46.3232 MM, fig. 31), of pre Kuşāņa period are obtained from the site. Seeing the images of different religions at Kankālī Tīlā, it seems that Mathurā was a secular city. Even the development in the image making of different periods could also be judged from its stretched hands, various types of pedestals, position of wheel within, nimbus, etc. The progression in the language and scripts is noticeable here as they contain Brahmī and Devanagari, both scripts, in Prakrit and Sanskrit languages. Here most of the inscriptions between 1st B.C. to 3rd A.D. used Ardhamagadhi form 'na', not the Saurseni form 'na', as at that time Saurseni Prakrit was not developed as a separate literature form but only as a dialect. They could be compared with Hāthiguha's cave inscription, which commence with adoration to Arihanta and Siddha. Even the Āyāgapatas start with Namo Arihantanam. Actually, Saurseni Prakrit originated in this region, but developed in literature form in 3rd century A.D. Therefore, later on in Māthuri Vācanā, many words of this form of Prakrit appeared57. The Mathurā artists have chiselled the Jaina images of Rşabhadeva Aristanemi, Pārsvanātha and Mahāvīrasvāmi as per their life incidences which later on became their special characteristics in image-making. The two types of ascetics are available on pedestal of Jina, having clothes which Śvetāmbera Sādhu wears today and holding a small piece of cloth to cover inner parts. Here, lady ascetics are shown in sari. All SādhuSādhvis carry Pratilekhana, which is a must for śramana sadhu is seen here. On one of the pedestal of Jina, an ascetic holds a Jholi to keep vessels utilised for getting alms (fig. 87). This system still prevails within the Svētāmbara tradition. The inscribed images of medieval period of both traditions reveal that besides stūpa, many Jaina shrines existed at the site.
57 Jain S., 1998 op. cit. pp. 22-23.

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The exchange of ideas and art is a natural phenomenon in the human race, which is illustrated very well on the sculptures. The Greek art motifs58 like Centaurs, Harpies, Ihāmrga, winged lions, vine creepers etc. travelled to India via Gandhāra and are seen on the toraņa gate way and other sculptures. Men riding on mythical animals, having long necks like Jurassic creatures are also depicted here. The music instrument, Harp, is seen at least on two sculptures. The auspicious symbols conveying message of philosophy like the three jewels, dharmacakra and svastika also serve as important objects for adoration. Many symbols were depicted on Āyāgapattas for veneration. These suggest Arihanta is carved in the centre surrounded by three jewels or svastika or dharmacakra on an Ayāgapatta. Even the inscriptions on them commence with the adoration to Arihanta. This suggests that Jaina tradition has always endeavoured to remind laymen to walk on the pious path of purification, for achieving liberation similar to Arihanta. The gradual development in image making in Kuşāna, Gupta and medieval period is available here. In Gupta period, the spiritual expression with cool and calm appearance on the faces of Jinas is sharply expressed by artists of Mathurā School which is very much helpful in knowing the process of development in image making. The iconography of deities from Kuşāņa era to medieval period shows their gradual development. The deities Sarsvatī (fig. 32), Āryāvatī (fig. 33), the counterpart of Naigameśa (fig. 34), Lakşmī (fig. 35) and Kșetrapal (fig. 23) were shown with two hands in Kuşāņa period. Later on the images of Ambica (fig. 36), Cakreśvarī (fig. 37), were carved with more than two hands to show their power. Here, surrounding minor deities were also increased on the images of Jina over a period of time as seen on Jina images of early Gupta period59. Naigameśa, his counterpart, Āryāvatī, and Sarsvatī made their first appearance at Mathurā. Here the Śrīvatsa mark carved on the chest of Jina also became a characteristic which later on continued as a must in carving. In southern India the carving of Śrīvatsa on the chest of Jina was not compulsory, sometimes it was chiselled on the right side of the chest of Jina.
58 Smith V., 1900, op. cit. pl. VIII, X and XX. 59 Smith V., 1900, ibid. pl., XCVII

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The Place of Mathurā in Jainism
Ancient works like Āvasyaka-niryukti60, Āvasyaka-cūrni6l etc. refer to the practice of erecting stūpas over the ashes of Jinas; accordingly stūpas were erected at Astāpada, Vaiśāli, and Mathurā. Many historians like Growse, Luders, Konow, Buhler, Fuhrer, V.A. Smith, Jacobi, B. Indraji, Agrawal V. S., Sharma R. C., Bhattacharya, Mukharji, Shah U. P., Sharma V. K., Joshi N. L., Tivari M.N., Rastogi, Jain Sagarmal, Dr. Jamkhedkar etc. have worked hard on this subject. Buhler found the reference to this stūpa in 14th century literary work Vividha-tīrtha-kalpa/Rājaprasāda of Jinaprabhasūri, belonging to Kharatara Gaccha. This book was written after a pilgrimage tour conducted by Suriji with his disciples. Bhagavanlal Indraji first saw this work and suggested it to Buhler. The reference of glorious Sālabhañjikās carved on rail posts of stūpa is noticed in Rāypasenium-sūtta by Prof. V.S.Agrawal62. The inscription obtained on the pedestal of an image no. J 20 LM. recorded the year 79 of the kuşāna era with the words “Dānam pratimā vodva thūpe devanirmite pra.." shows its antiquity. Jinaprabhasūri has also mentioned in this kalpa that the golden stūpa was erected by deity Kuberā, and that she protected and covered the same with bricks on the advice of Lord Pārsvanātha, 23rd Tīrthñkara. Deity even asked Jain Sangha to establish a Pārsvanātha idol in a newly built temple outside the stūpa for protection. In the Kalpa other historical narratives of Mathurā are given in detail including Bappabhattasūri's renovation advice in the year 769 A.D.63 with the establishment of Mahavīra's image. From literary and archaeological references, V.A. Smith assumed, that the stūpa was erected in the time of Pārsvanātha i.e. not later than B. C. 600, so it is the oldest building structure available in India at that time. Thus Jaina stūpa excavated at Kaňkālī mound by archaeologists provide fine history of Jainism.
60 See the fn. 28 of the chapter 'The Tradition of Stūpa..' in this book. 61 Ibid, fn. 29 and 30. 62 Prithvi Agrawal, Mathura railing pillars, (1966) pp. 6. 63 See the fn. 49 in chapter 'The Tradition of Stūpa.' in this book.

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2
The Tradition of Stūpa in Jainism
A structure constructed at a funeral place in memory of holy personalities is known as caitya. Both Śvetāmbara and Digambara sects have references of the adoration of stūpa, stūpa-maha, caiya/caitya, caiya-khambha and caiyavrksa in their literature. Their adoration in symbolic forms is seen on many Āyāgapattas. The caitya is a common name for a sanctuary. The word caitya originates from the root ci-cayane, which means something piled up, whereas caitya is a derivative of the word 'citya' or 'citi', which is referring to a fire - altar!. As mentioned by Dikshitar, caitya is derived from citya?. 2.1 The Concept of Caitya and Stūpa in Various Scriptures:
In Yājñavalkya-smrti? the same word (caitya) is applied to a sacred place (punya-sthāna) situated in the crematorium. Ancient Jaina Āgamas also refer to the caitya as a memorial constructed at a funeral place (citāsthala). Sometimes, when a tree is planted at such a memorial, it is called caitya-vrkșa, and caitya-stūpa if the memorial is dome shaped. In Vācaspatyam4, the word caitya occurs for a dome shaped yaksāyatana. Probably here remains of great personalities were worshipped which were later replaced by some memorials. Afterwards they converted into sacred sanctuaries with or without tree plantation. In due course caitya or stūpa were constructed for adoration purpose.
1
3
I) Coomaraswamy A. K., History of Indian and Indonesian Art, (London, 1927) pp.
47. II) Shah U. P., Studies in Jaina Art (Varanasi: Parsvanatha Vidyapitha, 1st edi 1955,
2nd edi. 1998) pp. 43. I) Dikshitar V. R. Ramchandra, "Origin and Early History of Caityas”, in 1.H.Q. vol.
XIV, (1938): pp. 440. II) Shah U. P. 1955, op. cit. pp. 43. 1) tyd vir Teclisi(46#: 1
सेतुवल्मीकनिम्नास्थिचैत्याद्यैरुपलक्षिताम् ।।१५१ ।।
चैत्यश्मशानसीमासु पुण्यस्थाने सुरालये।
जातद्रुमाणां द्विगुणो दमो वृक्षे च विश्रुते ।।२२८ ।। - याज्ञवल्क्यस्मृति, व्यवहाराध्याय । II) Jain S., Jaina Vidya.. V.II, 1998, pp. 716. 1) 414, Y P8&& ! II) Jain S. 1998, op. cit. 716.
4

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The Tradition of Stūpa in Jainism
In Rāmāyana', there are some verses mentioning caityas and yūpas When Rāma went to Dandakāranya via Košala, he found the whole country was adorned with caityas and yūpas. As noted by Shah U. P. here the term caitya is used in a wider application like caitya-prāsādas, caitya-vskşas etc. In Mahābhārata?, there is a mention of a region made sacred with hundreds of caityas and yūpas. At another place the epic refers in glowing term to the country full of caityas and yūpas where caityas are supposed to refer to places of sacred yajñas but may refer to shrines and stūpas also, as referred by Shah U. P.8 In Arthaśāstra, Kautilya refers to caityas in several contexts. He states that people offered pūjā to such places to avert evil attacks of demons. Here the word caitya is used for a shrine having images of deities? Buddhist literature uses the word caitya as a sacred symbol as well as a funeral relic. Lalitavistara refers to the erection of the cetiya at the spot where Chandaka returned with Buddha's ornaments, known as Chandaka-nivartana-caitya10. Here Buddha's cūdā (hair) was worshipped by Trāyastrimśa gods who erected a caitya in its honour. As referred to Dīgha-nikāya, Buddha once lived at the Ananda -cetiya in Bhojanagarall.
5 1) JEREHAT GHIGH STAICI __ अकुतश्चिद्भयानम्याश्चैित्ययूपसमावृतान् ।।
Rāmāyaṇa - II 50, 8 देवायतनचैत्येषु सान्नभक्ष्याः सदक्षिणाः ।
Rāmāyaṇa - II 3.8 II) Shah U. P., Studies in Jaina.., 1955, pp. 46. 6 Shah U. P. ibid, 46. 7 I) fotot era Tornuda: ucfendi बभूव रमणीयश्च चैत्ययूपशताङ्कितः ।।
Mahābhārata, I. 109.13. यत्र यूपा मणिमयाश्चैत्याश्चापि हिरण्मयाः।
Mahābhārata, II. 3.12 II) Shah U. P., Studies in Jaina..., 1955, pp. 45. 8 Ibid. 9 1) 31SHTIỆC SINH GUshefa (III. 18) or dari trinqueperf as ar Tage
यात्रासमाजाभ्यामजीवेत् (V. 2) or एवं गृहीतदुर्गो वा प्राश्यप्राशं चैत्यमुपस्थाप्य दैवतप्रतिमाछिद्रं प्रविश्यासीत् (XII.5)
चैत्यदैवतद्वाररक्षास्थानेषु च सत्रिणः समयकर्मनिक्षेपं हिरण्याभिज्ञानमुद्राणि हिरण्यभाजनानि प्ररुपयेयुः
(XI.1) - Kautilya, Arthasastra. II) Shah U.P., 1955, op. cit. pp. 46 10 I) Lalitvistara, Adhyaya 15, 277-278.
II) Shah U. P. 1955, op. cit. pp. 48. 11 Diggha Nikaya, II.

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He had visited caityas such as Udena, Gotama, Sattambaka, etc. 12 According to the inscription of Khāravela (fig. 38) at Hāthīgumphā (Udayagiri-Khandagiri), image worship was in vogue since the Nanda times. It also mentions the repairing of Kāyanisidhi (stūpa)13, a place of adoration at Kumārī (Khandagiri) hill. Thus caitya worship can be traced back earlier to Nanda period. Later on, stūpas or caityas were erected on the bones or ashes of great men. These also led to the construction of caityas and stūpas for adoration in the form of shrines when the art of image making came into existence.
2.2
The Concept of Caitya and Stüpa in Jaina Literature The word thūbha/stūpa does not occur independently in Ācārānga-sūtra (c: 2nd to 3rd B.C.) but in union with 'Kadam', i.e. “Thūbham-vāCeiyakadam' and 'Rukkham-va-Ceiyakadam'. The earliest reference of stūpa and stūpa-maha is available in the 3rd and 4th adhyayanas of the second Śrutaskandha (Āyāracūlā) in Ācārānga-sūtral4 in combination with 'caiya/caitya' i.e. caitya-krta-stūpa. The same sūtrals refers to the festivals in honour of 'Ceiya/Caiya-mahesu' along with those of Indra, Rudra, Mukunda, Bhāta, Yaksa, Naga, Stupa, Agada, Vrksa, tank, river, ocean etc. and prohibits Jaina monks from accepting food at such festivals16.
12 Shah U. P., Studies in Jaina.., 1955, pp. 48. 13 12th and 15th lines of Kharvela's inscription:
(१२)........ मगधानं च विपुलं भयं जनेतो हथिसु गंगाय पाययति(I) मागधं च राजानं वहसतिमितं पादे वंदापति(I) नंदाराजनीतं च कालिंग - जिन-संनिवेसं......... गहरतनान पडिहारेहि अंगमागध-वसुं च नेयाति (I) (१५)........ (ता) सु कतं समण-सुविहितानं (मुं?) च सातदिसानं (मुं?) ञातानं तपसइसिनं सधायनं (D?) (3) अरहतनिसीदिया समीपे पभारे वराकर-समुथापिताहि अनेक- योजना-हिताहि........ सिलाहि
सिंहपथ-राजिये घुसिय निसयानि 14 (a) से भिक्खू वा भिक्खुणी वा गामाणुगाम दुइज्जमाण............. रुक्खं वा चेइयकड', थूभं वा चेइय
कडं....... णो........ णिज्झाएज्जा ।। Acāraiga-sutra (2nd Sruta-skandha - Ayarcula),
3/47. (b) से भिक्खू वा भिक्खणी वा जहा वेगइयाई रुवाई....... रुक्खं वा चेइय-कडं......... णो....... सुकडे ति वा, सुठुकडे ति वा, साहुकडे ति वा, कल्लाणे ति वा।
Ibid. 4/21 (c) से भिक्खू वा भिक्खुणी वा............ थूभ-महेसु वा, चेतिय-महेसु वा.......... तहप्पगारं असणं व पाणं वा.......... णो पडिगाहज्जा ।
Ibid. 1/24 15 I) Acāraiga-sutra: 2. I. I. 2, 328,
II) Shah U. P., Studies in Jaina..., 1955,. pp. 48-49. 16 Ibid.

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According to Prof. Dhanki, in Sanskrit, kadam stands for a heap and hence ceiyakadam means umbrella shaped caitya or thubha17.
Dr. Jain explains the word "Thubhaṁ vā Caiyakadam' as "The stūpa erected on the ashes or relics of great personalities." He elaborates the word caiyakadam as the adjective for the word 'thubha', and hence the whole word can be explained as a stūpa constructed to honour a specific personality, using some of his remains after his nirvāṇa. Thus rūkkham vā caiyakadam stands for a tree planted on the ashes of a great person. In the view of Shah U. P. caiyakadam can also be explained as a sacred place18, but this meaning is developed afterwards as noted by Dr. Jain.
49
After Acārānga sutra, the word thūpa/stūpa is mentioned in Sthānānga and Praśṇa-vyākaraṇa sūtras. To grasp its actual meaning, one must know the gradual development of the word 'caitya'. In Sanskrit dictionary the meanings of the word caitya are: heap of stones, a monument, a funeral place, yajña-vedi, adoration place, a shrine, a place where images are installed, as well as Jaina and Buddha shrines 19. The above meanings are in consequences of the development of the word in due course. After the 6th century A.D., it is used as a synonym for a Jaina or Buddhist shrine-caityalaya.
In Bhagavati-sūtra and Sthānanga-sutra20, a wide description of the caitya-stūpa is given while talking to Nandīśvara-dvīpa.
17 Jain S., Aspects of Jainology, 1998, Vo. 2, pp. 133.
18 I) Jain S., Aspects of Jainology, Vo. 2, 1998, pp. 712.
II) Shah U. P. Studies in Jaina... 1955, pp. 53.
19 Apte Vaman Shivaram, Sanskrit-Hindi Dictionary, pp. 327.
20 तेसि णं अंजणगपव्वयाणं उवरिं बहुसमरमणिज्जा भूमिभागा पण्णत्ता । तेसि णं बहुसमरमणिज्जाणं
भूमि - भागाणं बहुमज्झदेसभागे चत्तारि सिद्धायतणा पण्णत्ता
तेसि णं दाराणं पुरओ चत्तारि मुहमंडवा पण्णत्ता ।
तेसि णं मुहमंडवाणं पुरओ चत्तारि पेच्छाघरमंडवा पण्णत्ता ।
तेसि णं पेच्छाघरमंडवाणं पुरओ चत्तारि मणिपेढियाओ पण्णत्ताओ ।
तेसि णं मणिपेढियाणं उवरिं चत्तारि - चत्तारि चेइयथूभा पण्णत्ता ।
तेसि णं चेइयथूभाणं उवरिं चत्तारि मणिपेढियाओ पण्णत्ताओ ।
तासि णं मणिपेढियाणं उवरिं चत्तारि जिणपडिमाओ सव्वरयणामईओ संपलियंकणिसण्णाओ थूभाभिमुहाओ चिट्ठति, तं जहा-रिसभा, वद्धमाणा, चंदाणणा, वारिसेणा ।
- स्थाणांग, ४ / ३३९ ।

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The Jaina Stupa at Mathura: Art & Icons
According to Bhagavatī-sūtra, certain monks fly to Nandīśvara-dvīpa with the help of their super natural power to adore Jinas in the shrines21 In Sthānānga-sūtra following description of cetiya stūpa is available while referring to Nandīśvara-dvīpa - "There are four Añjana hills, in four directions, from the centre of the dvīpa. They are spread up in ten thousand yojana at the base, gradually reducing to a thousand yojan at the top which is plain and looking very beautiful with natural surroundings. At the middle of this plain top surface of each of the four hills, has a Siddhāyatana (Jaina shrine) having four entrances in every direction opening to a mukha-mandapa. Each mukha-mandapa has a ranga-maņdapa/prekşāgrha in its front. In front of each ranga-mandapa there is a manipīțhikā having a caitya stūpa. Every caitya stūpa has a manipithika each in four directions and on these Manipithikas there are four Jina pratimās. They are made of jewels and are in the padmāsana. Again, these caitya stūpas have caitya-vệksas at their entrances with mahendra-dhvajas having puskaraņi and vanakhanda in their front. These shrines are called śāśvatajina āyatanas/siddhāyatanas." The above mentioned Sthānārga-sūtra is a text, having information about important incidents up to the 4th century A.D. From the above description, one feels that before Sthānanga and other sūtras were codified, such beautiful Sarvatobhadra shrines and stūpas were already existing with images within. Buddhist tradition also has four such Buddha images on stūpas. The scripture Samavāyanga sūtra22 referes to ceitya-stambha instead of ceitya-stūpa, so it seems that caitya-stambha might be the form of stūpa converted into mānastambha later on. In Adipurāņa23, a reference to mānastambha is available. The practice of erecting mānastambha in front of the shrine still continues in the Digambara tradition. Bhagavatī sūtra24, Upāsaka-daśānga-sūtra and Jñātā-dharmakathā do not have clear references to caitya stūpa, but have information about
21 Shah U. P., Studies in Jaina... 1955, pp. 52 22 सोहम्मे कप्पे सुहम्माए सभाए माणवए चेइयखंभे हेट्ठा उवरिं च अद्धतेरस-अद्धतेरस जोयणाणि वज्जेत्ता मज्झे पणतीस जोयणेसु वइरामएसु गोलवट्टसमुग्गएसु जिण-सकहाओ पण्णत्ताओ।
- 449 , 34/41 23 HH*T9TEI TSHf467464 प्रेक्षमाणो व्यतीयाय स्तूपांश्चार्चितपूजितान् ।
- tify m, 89/201 24 णणत्थ अरिहंस वा अरिहंत चेइयाणि वा अणगारे वा भावियप्पणो णीसाए उर्दू उप्पयति जाव सोहम्मो कप्पो।
- par 2, 3/21

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Arihanta-caitya and thubha or sibika. The Upanga literature like Jīvājīvābhigama 25, Jambudvīpa Prajñapti 26, etc. also talk about the stūpa at many places.
51
In Rayapaseṇīyam suttam27, the description of devavimāna of Suryabhadeva is classic, informative and noteworthy. It describes many art motifs, similar to those obtained from stūpa sites at Mathura, such as toraṇa, door lintel, śālabhañjikās, life incidents of Jinas, auspicious symbols,
etc.
Besides, Anga and Upanga literature, the explanatory texts like Avaśyakaniryukti, Avaśyaka-cūrni, Vyavahāra- cūrni as well as the commentaries (tikās) of Acārānga sūtra and Sthānānga sūtra mention the stūpa, caityastūpa and stūpa-maha, while describing the various legends.
The stupa at Aṣṭāpada, the place where Rṣabha attained nirvāṇa, was established by his son Bharata Cakravartin as per Avasyaka-nirukti28. It was named as Sinhaniṣadhyāyatana, one yojana in area and three gavyutis in height. Here he installed life-size images of the 24 Jinas and also of his brothers who attained Nirvana. In order to protect the entire area from damage, he placed mechanical figures made of iron (lohamānava-yantrapurusah) as gatekeepers to guard the area. This was commented upon by Haribhadrasūri in Avasyaka-vritti (pp. 169 ). As per the legend, the first ganadhara of Mahāvīra Gautamasvāmī arrived here with 500 recluses to adore Jinas with the power generated by sun beams. Another stupa was mentioned as existing in Vesālī Nagara (Vaiśālī), erected in the memory of the 20th Tirthankara, Munisuvrata Svāmī as described in Avasyaka-curṇi29, while illustrating the thubha 25 तहेव महिंदज्झया चेतियरुक्खो चेतियथूभे, पच्चत्थिमिल्ला मणिपेढिया जिणपडिमा ।
जीवाभिगम, ३/२/१४२ । 26 ..... खिप्पामेव भो देवाणुप्पिआ तित्थगरचिइगं जावअणगारचिइगं च खीरोदगेणं णिव्वावेह, तए णं ते मेहकुमारा देवा तित्थगरचिइगं जाव णिव्वावेंति, तए णं से सक्के देविंदे देवराया भगवओ - तित्थगरस्स उवरिल्लं दाहिणं सकहं गेण्हइ ....तए णं से सक्के वयासी सव्वरयणामए महइमहालए तओ चे अभे करेह | जम्बूद्वीपप्रज्ञप्ति, २ / ३३ ।
27 'Rayapaseniya', see the chapter 5 in this book.
28 निव्वाणं चिइगाई जिणस्स इक्खाग सेसयाणं च ।
-
सकहा थूभ जिणहरे जायग तेणाहिअग्गित्ति ।।
आवश्यक निर्युक्ति, ४५ ।
29 तरणं से सक्के बहवे भवणपति जाव वेमणिया एवं वयासीखिप्पामेव भो तओ चेइअ - थूभे करेह । आवश्यक चूर्णि, ऋषभनिर्वाण, प्रकरण, पृ. २२३ ।

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story regarding the Pāriņāmika Buddhi30. This shows that the author of cūrni was familiar with the above stūpa of Munisuvrata Svāmī. As per the opinion of the present Ācārya Yugbhusada Vijayji, this stūpa was destroyed by King Kuņika (Ajātaśatru) while attacking the city. The text Antagada-dasāo refers to Mudgalapāņi-yakșa shrine at Rājagrha. The ceityas- Pūrņabhadra (outskirt of Campā city), Amara-śālavana (at Amalakappā city) etc. are the shrines of deities of the vyantara class known as Jakkhāyatana31 According to Aupapātika-sūtra, Pūrņabhadra caitya was very ancient32 (purāņā or cirātīta), even Mahāvīra stayed at this caitya. The caitya is also used in a sacred sense at many places33 in a sense of a relic shrine marking a sacred place. The commentator Abhaydevasūri mentioned that one has to adore the Jinas and deities for auspicious happenings i.e. to spread mangala and kalyāņa. “Kallāņaṁ mangalam "devayaṁ ceiyaṁ viņaeņaṁ pajjuvāsaņijjo." The Stūpa at Mathurā: Many ascetics like Ācārya Bappabhattasūri, Jinabhadra Kşamāsrāmaņa, Haribhadra (7th A.D.), Harişeņa (932 A.D.), Somdeva (10th A.D.), Sangamasüri (11th A.D.), Jinaprabhasūri (14th A.D.) visited this sacred stūpa in different period. They narrated its enormous structure with adornment and also the legend about its establishment by the deity in their work.
2.3
30 वेसालिए णगरीए णगरणाभीए मुणिसुव्वय सामिस्स थूभो ।
- आवश्यकचूर्णि (पारिणामिक बुद्धि प्रकरण) पृ. ५३७ 31 U. P. Shah, Studies in Jaina..., 1955, pp. 50-51. 32 I) Ibid. II) U. P. Shah, “So-Called Mauryan Polish in Jaina Literature", Journal, M.S. Uni.
Baroda, (June 1955). 33 Viz. Sthananga (sūtra 3.1), Rayapaseniyam (pp. 39), Bhagavati (2.1, sūtra. 91), Aupapatika
(sūtra. 27), etc.

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In the Malayagiri-tikā of Vyavahāra-cūrni34 and Vyavahāra-sūtra, there is a kathā of construction of Deva nirmita stūpa. Accordingly, once a Jaina monk was performing severe austerity at Mathurā, a goddess of the park was pleased with his great penance, and appeared before him to accord a boon. The ascetic was not ready to accept it, so she manifested her power by erecting a golden jewelled stūpa, in a single night. The scripture Niśitha-cūrņi talks about the devanirmita stūpa at Mathura"Uttarāvahe Dhammacakkam, Mahurāe Devanimiya thubho...." (Niśitha-cūrņi, III, 79). Somadevasūri narrates Jaina stūpa at Mathurā, as 'devanirmita' in Yaśastilaka campū (10th A.D.). Sangamasūri composed a prayer to adore Mūla-nāyaka Supārsvanātha at 'devanirmita Thubhe' at Mathura in 11-12th century35 as described in Tirthamālā. The 13th century work, Prabhāvaka-caritra, presents the stūpa at Mathurā, with its chief idol Supārsvanātha- Śrī Supāráva Jina stupe namat'. In ‘Sarvadeva Caitya Paripāti', Jinaprabhasūrī describes Mathurā's stūpa as studded with jewels36. A manuscript found at Pātan's Grantha-Bhandāra narrates that Mathurā's great stūpa was established by a deity with the image of Śrī Pārsvanātha
34 मथुरायां नगर्यां कोऽपि क्षपक आतापयति, यस्यातापनां दृष्ट्वा देवता आदृता तमागत्य वन्दित्वा ब्रूते, यन्मया
कर्तव्यं तन्ममाज्ञापयेद्भवानिति । एवमुक्ते सा क्षपकेण भण्यते, किं मम कार्यमसंयत्या भविष्यति, ततस्तस्या देवताया अप्रीतिकमभूत् । अप्रीतिवत्या च तयोक्तमवश्यं तव मया कार्यं भविष्यति, ततो देवताया सर्वरत्नमयः स्तूपो निर्मितः, तत्र भिक्षवो रक्तपटा उपस्थिताः अयमस्मदीयः स्तूपः, तैः समं सङ्घस्य षण्मासान् विवादो जातः, ततः सङ्घो ब्रूते-को नामात्रार्थे शक्तः, केनापि कथितं यथामुकः क्षपकः, ततः सङ्केन स भण्यते-क्षपक! कायोत्सर्गेण देवतामाकम्पय, ततः क्षपकस्य कायोत्सर्गकरणं देवताया आकम्पनम् सा आगता ब्रूते-संदिशत किं करोमि, क्षपकेण भणिता-तथा कुरूत यथा सङ्घस्य जयो भवति, ततो देवताया क्षपकस्य खिंसना कृता, यथा एतन्मया असंयत्या अपि कार्य जातं एवं खिंसित्वा सा ब्रूते-यूयं राज्ञः समीपं गत्वा ब्रूत, यदि रक्तपटानां स्तूपः ततः कल्ये पताका दृश्यतां, अथास्माकं तहिं शुक्ला पताका, राजा प्रतिपन्नमेवं भवतु, ततो राज्ञा प्रत्ययिकरपुरुषैः स्तूपो रक्षापितः रात्रौ देवताया शुक्ला पताका कृता, प्रभाते दृष्टा स्तूपे शुक्ला पताका, जितं सङ्घन।
- - व्यवहारचूर्णि, मलयगिरि टीका-पञ्चम उद्देशक, पृ. ८ । 35 // Mathurāpuri Pratisthitaḥ Suparsva Jina Kāla Sambhavo Jayati /
adyapi Suramyacayarya Sridevi Vinirmita Stupah //8// -Sangamsuri, Tirthamala. 36 Jinaprabhasūri of Āgamagaccha.

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// "Śrī Pāsanāhasahium rammam Sirinimmayam Mahāthubham, kalikāle vi suyittham Mahurānayariu(e) vandāmi."37 // One pedestal of an image has been obtained from the site, bearing an inscription that the same was established at "Vodve thūpe deva nirmita' in Kuşāna year 79. The other three images of mediaeval period also have inscriptions which say that they were established at 'Deva nirmiteti' (J.143LM, J.144LM., J.145LM.). Thus up to medieval times the shrine was called 'Devanirmita'. Many Ayāgapattas comprise carvings of stūpas along with Jinas, ascetics and devotees. Thus it seems that it was the same stūpa adored by Jainas since years. Jinaprabhasūri's account on the Stūpa at Mathurā: Jaina monks are very good wanderers as they have to move from place to place except the four months of rainy season to preach the tenets of Jainism. While travelling they write the account of their pilgrimage tour describing the condition of the temple, site, year of establishment, renovation year, name of the reigning king, etc. Such documentation provides important evidence for the study of history, geography and social customs. Jinaprabhasūri visited sacred tīrthas and narrated their condition in Vividha-tīrtha-kalpa (V.T.kalpa). In the history of Jainism there were two Ācāryas named Jinaprabhasūri living between 13th and 14th century. The first Jinaprabhasūri of Āgama Gaccha lived from the end of 13th century to the beginning of 14th century of Vikrama era. He composed many informative texts in Apabhramsa language which are preserved at Pātana's Granthabhandāra while the second Jinaprabhasūri, the disciple of Jinasiṁhasūri belonging to Kharatara gaccha and the author of V.T. kalpa lived in the second half of the 14th century of the Vikrama era. He wrote ‘Kātantra Vyākaraṇa' in the year 1352 of the Vikrama era at the age of 25. Ācārya Somdharmagaội mentioned Sūriji's magical power in prabandha - 'Upadeśa Saptati' by which he impressed the Sultan. He renovated the Mathurā shrine as per the available information from
Nābhinandanoddhāra-prabandha'. At his time Delhi was governed by Sultan Hammira Mohammad Tagalakha. The work on this kalpa began with the journey to the sacred Tīrtha Satruñjaya, on Friday in
37 1) Descriptive Catalogue of MSS in Jaina Bhandaras, Pātan, G.O.S. 73, (Baroda,
1937), 56. II) Jain S., Aspects of Jainology, Vo. 2, 1998, pp. 709.

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the month of Mahā in 1385 of the Vikrama era. The Sultan of Delhi became happy with the commencement of journey on an auspicious day i.e. Friday. Seeing his happiness Sūriji also named this kalpa as "Rājaprasāda”. He completed the same in the year 1389 Bhādrapada Krsna-paksa Daśami at Delhi. It provides the account of Satruñjaya, Giranāra, Khambāta, Ahicchatra, Ābu, Mathurā, Bharuca, Vaibhārgiri, Kausambī, Kalikunda, Kannānura, Nāsika, Pratisthānapur, etc. 38 Jaina Tīrthas visited by him with other disciples. It is noted in Rājendra Kosa (part-3 on pages 212-215) published in early 20th century at Ratlam, authored by Ācārya Rājendrasūri. It is also published by Simghi Jain Series as No. 10 in 1934. Jinaprabhasūri begins the 9th chapter 'Mathurāpurī Kalpa' in Vividhatīrtha -kalpa with the adoration of the seventh Jina Supārsvanātha and 23rd Pārsvanātha for performing mangala to all jīvas38. Here he prayed to the above two Jinas, so it seems that, there might be more than one shrine where above Jinas were Mulanāyakas. The author narrates the legend behind the establishment of the stūpa, very much similar to Vyavahāra-cūrņi but with a little difference. Accordingly, in the period of the seventh Jina Supārsva, two Jaina monks Dhammaruci and Dhammaghoșa, visited the city of Mathurā, and stayed in the park named Bhua-Rāmaņa39. At that time the city of Mathurā was twelve yojana long and nine yojana wide. The river Yamuna flowed right next to the city. Jinaprabhasūri describes that it appeared as if the Yamuna is performing abhiseka to the city. He further comments about the beauty of the cityIt was looking very elegant with magnificent shrines, wells, ponds and forts. Groups of Brāhmaṇas were exercising four sorts of vidyās by various means. The Bhūta-ramaņa park was looking very pleasant with plenty of trees, flowers, fruits and creepers. The presiding deity, Kuberā converted herself to Jaina faith seeing the severe austerities of ascetics. She wanted to bestow a boon, even wanted
38 HTH - dalaga Hf454 Four vertuoti भवियजणमंगलकरं महराकप्पं पवक्खामि ।।१।।
- V. T. Kalp., pp. 17 39 तित्थे सुपासनाहस्स वट्टमाणंमि दुन्नि मुणिसीहा । धम्मरुइ - धम्मघोसा नामेणं आसि
निस्संगा ।। २ ।। तत्थ ते मुणिवरा...भूअरमणाभिहाणे उववणे उग्गहं अणुण्ण- विअ ठिआ वासारत्तं चउमासं कओववासा ।
- ibid.

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The Jaina Stupa at Mathura: Art & Icons
them to carry to Meru hill for adoration but they refused, as they saw the Meru with their own Agamic power- . “Sāhu bhaṇanti-Amhehim Āgama baleņam ceva meru dittho.” (V.T. Kalpa, pp.17) Jinaprabhasūri further noted that the deity got disturbed with this answer but as she really wanted to favour Jaina Sangha, she constructed a stūpa for veneration, having images of jewels similar to MeruDevie bhaniaṁ-"jai evaṁ tā padimāhiaṁ sohiaṁ Meruāgāraṁ kāuí dāvemi / The kathā further continues, to describe the stūpa- Then she made a stūpa of gold studded with jewels, adorned with toranas, gateways, banners, three vestibules for pradaksiņā, having an umbrella40 at the top41. Devas, sādhus and laymen were coming for veneration. Later on a controversy arose between three main-faiths regarding this wonderful stūpa, where the king supported the Jaina Sangha and passed the judgement in his favour. The process of adoration is mentioned in the kalpa42 that on every ekadasi (11th day of the bright and the dark half of the month) abhiseka of milk, curds, ghee, candana and kumkum were performed on images through thousands of kalaśas. (The sprinkling of pious material is called abhișeka). After abhișeka, flowers, garlands, clothes, incense were offered to Jinas. The splendid stūpa remained open until the 23rd Tīrthankara Pārsvanātha visited it. In his period a local king attempted to grab its treasure, but was killed by the deity. Afterwards, she requested Jaina Sangha to hide the same with bricks and to establish an image of Pārsvanātha for protection. The deity even made it a norm, that whoever becomes a king at Mathurā, must establish a Jina Pratimā, otherwise he will not survive. Later on, Jaina laymen set up the arhat images in their homes for worshipping, they even placed the same on the door lintels for protection.
40 तओ तीए देवीए कंचणघडिओ रयणचिंचईओ अणेगसुरपरिवरिओ तोरणझयमालालंकिओ सिहरोवरिछत्तत्तयसाली
रत्तिं थूभो निम्माविओ मेहलातिगमंडिओ। इक्किक्काए मेहलाए चाउद्दिसं पंचवण्णरयणमयाइं बिंबाइं । तत्थ मूलपडिमा सिरिसुपाससामिणो पइट्ठाविआ।
. - V. T. Kalp, pp. 17 41 सिहरोवरिछत्तत्तयसाली रत्तिं थूभो निम्माविओ मेहलातिगमंडिओ। इक्किक्काए मेहलाए चाउद्दिसं पंचवण्णरयणमयाइं बिंबाइं।
- ibid. 42 तओ एगारसीए दुद्ध-दहि-घय-कुंकुम-चंदणाईहिं कलससहस्सेहिं सड्ढा न्हाविंसु । पच्छन्नठिआ सुरा न्हाविंति । अज्जवि तहे व जत्ताए, आर्विति। कमेण सव्वेहिं न्हवणे कए पुफ्फ-धूव-वत्थ-महाधय-आहरणाई आरोविंति ।
- ibid. pp. 18

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Besides the myth, the author has given a lot of information related to Mathurā, stating the word 'Itthe' (here) as follows1) The city is the birth place of the future Tīrthankara Kanha Vāsudeva43. 2) Here, Mahāvīrasvāmī's previous birth as Visabhuti, with unlimited
strength is connected44. The same account has appeared in Uttar
purāņa of Guņabhadra. 3) Here, there are four Jaina shrines viz. Ācārya Mangu, Yakșa Bhūta,
Hundiya Yakşa, and the stūpas. 4) The five sthalas/places around Mathurā are Akkasthala, Vīrasthala,
Paumasthala, Kusasthala and Mahāsthala46. 5) The twelve forests (vanas) are Lohajunghavana, Madhuvana, Bilvavana,
Tālavana, Kumudavana, Vrindāvana, Bhandirāvana, Khadīravana,
Kāmikavana, Kolavana, Bakulāvana and Mahāvana47. 6) The five laukika-tīrthas (sacred places) mentioned in the kalpa are Viśrānti,
Asikunda, Vaikuntha, Kāliñjara and Cakratirtha48. A reference of Cakratīrtha is available in Ogha-niryukti by Acārya Bhadrabāhu svamī as
//Cakke thübhe stūpo Mathurāyam//' Most of the names of sthalas, tīrthas and vanas are still recognizable like Vrndāvana, Madhuvana, Mahāvana, Vaikuntha-tīrtha, etc. They
are available in Hindu Purāṇas and Āgamas too. 7) Jinaprabhasūri refers Ācārya Bappabhattasūri's visit to Mathurā,
where he had established Mahāviīa's image in Vikrama era 826 i.e. 769 A.D. At that time, Ācārya had advised King Ama to repair the stūpa49. The king restored the same, and prepared a kūpa or kunda near the stūpa. A kūpa unearthed close to the site of the stūpa in excavation in 1987 A.D.50 might be the same.
43 इत्थ नयरीए कण्हवासुदेवस्स भावितित्थंकरस्स जम्मो।
- V. T. Kalp. pp. 18 44 grey faraghildur fariTET 379ff4310U FR gel - ibid, pp. 19 45 3toutiner SRT 7043TKY affermarkt J Rua Frei ori fags 1 - ibid., pp. 18 46 इत्थ पंच थलाई । तं जहा-अक्कथलं वीरथलं पउमत्थलं कुसत्थलं महाथलं ।
- ibid. 47 576T-cevi qui nequi...... HENU 1
-ibid. 48 तं जहा-विस्संतिअतित्थं असिकुंडतित्थं वेकुंततित्थं कालिंजरतित्थं चक्कतित्थं । - ibid., pp. 19 49 ....तेण आमरायसेविअ कमकमलेण सिरिबप्पहट्टिसूरिणा अट्ठयसयछव्वीसे (८२६) विक्कमसंवच्छरे
सिरिवीरबिंबं महुराए ठाविअं। तओ बप्पहट्टिवयणाओ आमराएण उवरि सिलाकलावचिअं कारिअं।
-V. T. Kalp. pp.19. 50 U. P. Shah & Earnest B., “Mathurā & Jainism”, 1989, op. cit., pp. 209-10.

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In the kalpa, the author has described the power possessed by A. Bappabhattasūri. Accordingly, he adored Rsabha at Satruñjaya, Nemi at Giranāra, Munisuvrata at Bharuca, Vīra at Mondherā, Supārsva at Mathurā and used to take his Gocari/food at Govālgiri (Gwaliyara).
Moreover, King Ama was his devoteesi 8) Here, the deity Śakra, went to Bhutagpha for the explanation of the
‘Nigoda', to Arya Raksitasūri and satisfied. Here Vatsapusyamitra, Ghayapusyamitra and Durbalipusyamitra having vast knowledge and
Labdhis (Vidya) visited the city. 9) He describes the kathā of learned Ācārya Mangu that his greed for
food resulted in his rebirth as a Yaksa (Jakha). 10) He also narrates Jinadāsa Śrāvaka's two bullocks Kambala and
Sambala who observed austerity along with him52. 11) He mentions the Āgama Vācanā at Mathurā - convened under the
leadership of Ācārya Skandila by Jaina Sangha, after the 12-year draught. This Vācanā came to be known as 'Māthuri Vācanā' and
recognised by Yāpaniya tradition. 12) The author adds further, that 'Deva nirmita' stūpa was adored by the
Kşamāsrāmaņa Jinabhadra, who obtained the deteriorated manuscript of Mahāniśitha sūtra, damaged by termites and repaired the lost
portion with the deity's blessings53. 13) Here Naravāhana Kuberā, Simhavāhana Ambikā and Svānvāhana
kşetrapāla protect the Tīrtha. The author further informs us in last chapter that the given information is gathered by seeing or listening about this Tīrthakşetras//Kincita drastva, kincita śrutvall - V. T. Kalp.
2.5
The period of Mathurā's Stūpa: It is little difficult to judge the period of construction of Mathurā's stūpa, as its antiquity is not remembered, except that it was set up by
51 सित्तुंजे रिसहं, गिरिनारे नेमिं, भरुअच्छे मुणिसुव्वयं, मोढेरए वीरं, महुराए सुपास-पासे नमित्ता सोरटे ढुंढण विहरित्ता गोवालगिरिंमि जो भुंजेइ ।
- V. T. Kalp. pp. 19. 52 इत्थ कंबल-संबलनामाणो वसहपोआ जिणदाससंसग्गीए पडिबुद्धा नागकुमारा होऊण वीरवरस्स भगवओ नावारूढस्स उवस्सग्गं निवारिंसु।।
- Ibid. 53 इत्थ देवनिम्मिअथूभे पक्खक्खमणेण देवयं आराहित्ता जिणभद्दखमासमणेहिं उद्देहिआभक्खियपुत्थयपत्तत्तणेण तुटुं भग्गं महानिसीहं संधि।
- Ibid, pp. 19.

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some deity. In the opinion of V. Smith that it was the only ancient structure 54 available after Mohen-jo-daro. There are two ways to judge its establishment i) as per scriptural data and ii) as per donation records.
2.6
The Establishment of Stūpa as per Scriptural data: As per legends, the stūpa was established in the period of seventh Tīrthankara Supārsvanātha. He was from Banaras where his ancient shrine at Bhadainī Ghata is still worshipped by people. Dr. R. C. Sharma suggested, “Some important life events of Supārsvanātha might have taken place at Mathurā, and thus, in his memory, the most ancient stūpa was established55”. As per scriptures, Mathurā city was the chief Jaina pilgrimage centre, Arya Raksita once visited here and stayed at Bhutaguha Caitya, as referred in Āvaśyaka-cūrni. As imformed in the inscription of 'Palace gateway', the arch was gifted by a śrāvaka who was the disciple of Mahārakṣita. These both ascetics might be the same. Here, Arya Mangu became a Yaksa Niddhavana after Nirvāṇas.
2.7
The period of Stūpa based on sculptures and epigraphic Records: The inscription records of Mathurā's sculptures reveal that the stūpa existed during 2nd century B.C. Some of the dedicatory donation records are given belowI) A palace gateway by Uttardāsika (J.536 LM.) with inscription- "An
ornamental arch for the temple, the gift of the lay hearer Uttardāsaka,
son of a Vachhi and antevāsi of the samana Mahārakhita”. II) A Gateway of Balahastini (5.532 LM.). III) A palace fragment of Dhāmaghoṣā having inscription- “A temple
(pāsāda), a gift of Dhāmghosā, the antevāsini (female disciple) of Jaysena". (.557 LM, fig. 127, 128) Though the above three sculptures are without date, but from
palaeographic study, they show to be of 2nd century B.C. IV) A Torso of Jina having inscription at the back of Ksatrapa year 71.
(fig. 39, 40) The pattern of writing inscription at the back is still continued on many Jina images. It was obtained in the year 1891-92,
54 V. Smith, The Jaina Stupa at Mathurā..1900, op. cit., preface. 55 Sharma R. C., 1971, Mathurā Jain Tirtha Kankali, pp.3. 56 Ibid.

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but its inscription was published in the 10th volume of Epigraphica Indica, under the heading 'Other new Brahmi Inscriptions of the Scythian period'. This torso is unique, as many letters (akşaras) resemble the Kharosti script. The word 'suśoti’ is the 'Apabhramśa' of 'svasriya' according to Bengali language as explained by R. L. Mukharji, Here, the word 'Munasimita' seems to be 'Munisuvrata'the 20th Tīrthankara. The inscription1 Sa(m) 70 1 va 1 di 10 5 2 e(?) tasya puvaye ha . 3 tiya(?) Munasimita(?) ye (?) 4 Minirava suśoti dhitu 5 H(emad)eva (sya) Translation: "In the year 71, the 1st month of the rainy season, the 15th day, on that (date specified as above),....... of Munasimita(?).....
the sister's daughter's daughter of Minirava...... of Hemadeva". V) An Āyāgapatta of Aryāvatī, dated 42, of Mahākṣatrapa Sodāsa
period. This is a votive tablet or Āyāgapatta, though not mentioned in the inscription. It commences with adoration to Arhat. A woman, Amohini, presented the tablet of Āryāvatī for veneration, at the Jaina shrine,
in the year 42 of Mahākşatrapa's reign. VI)The pedestal of Jina (5.20 LM., fig. 24) dated 79 of Kuşāņa year,
has inscription“In the year 79, the fourth (month of the) rainy season, the twentieth day, on that (date, specified as )above, Arya-Vrdhahasti, a preacher in the Kottiya gana in the Vaira śākhā, gave the advice to make an image of the Arhat Nandāvarta (or Munisuvrata, as later on inferred by Krasnadatta Bajapayi)... the image, the gift of the female laydisciple, Dina (Datta) wife of ... was set up at the Vodva Stūpa, built by the gods."57 In general, the Saka/Kuşāņa era commenced in 78 A.D., but that is not sure as different theories have been propounded, hence the date is kept same as mentioned in inscriptions, to avoid confusion.
57 1) Bulhar, Ep. Ind. Vol. II, pp. 204.
II) Smith V, The Jain Stūpa at Mathurā.., 1900, pp. 12

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VII) A wheel on the centre of the pedestal of the Sarvatobhadra image58,
flanked by devotees, wearing dresses like royal personage. VIII) There is one toraņa beam of a procession, where Centaurs and
Harpies are proceeding to adore the stūpa (fig. 19, 20), available from the site of the stūpa59, proving its establishment before 2nd century B.C. Above sculptures were installed in around stūpa premises as per their inscriptions details like Arhatāyana (A shrine of Arhatas), Prāsādas (Shrines), Ranga-mandapa (An adjacent hall to the main Garbhagsha), Deva nirmita Vodva stūpa, Āyāgasabhā and Caitya Pillar. The names of ascetics are seem to be familiar like Mahāraksita and Vriddhahasti who might be Arya Raksitasūri and Vriddhavādi very
often referred in Jaina scriptures. The available bricks used in the construction of the stūpa were of many sizes viz. 15 square inch to six inch thick, some were long but narrow, while the measure of smallest was seven inch broad with a two inch thickness 60. The channel for water supply was like the ancient water supply mechanism61. The obtained sculptures show art and architecture of Hellenistic and Gandhāra School. Above scriptural and archaeological data leads to believing that the stūpa which was described in inscription J.20 LM., is the same constructed by the deity Kuberā. Jina Pārsvanātha too visited the stūpa and advised to cover it with bricks and sand. His period was 800 B.C. If we consider that the stūpa already existed during his period, means the same was constructed at least 200 years earlier. Thus, the stūpa was set up by deity about 3000 years ago. Most of the historians including Dr. R. C. Sharma and Dr. U. P. Shah agreed to this date 62 In 1888, the site Kārkālī Tīlā, also known as Jainī tīlā, was excavated by ASI Officers. About 737 sculptures63 were discovered in the year
58 B. 67 MM, fig. 72. 59 J. 535 LM. 60 I) Sharma V. K., 2002, op, cit., pp. 139.
II) Smith V, op. cit. 1900, pl.III. 61 Sharma R. C., Mathura Jain Tirtha Kankali, 1971, pp. 9. 62 R.P. Chanda, A.S.R. 1925-26, pp. 124 &180 63 Smith V, 1900, op. cit. pp. 3.

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1890-91 as per report forwarded by Dr. Fuhrer. Actually, the site was explored many times between 1882 and 1892 A.D. The available inscribed images and other sculptures provide the important documents of Jaina history, revealing the kula, gana, and śākha of Acāryas with the condition of Jaina Sangha.
The city continued to prosper after Taxila's decline during Kuṣāṇa period. In the year 1018, invader looted and destroyed the golden stupa, though it was repaired within the next five years. The obtained artefacts and images show the prosperity and growth of Jainism, from 200 B.C. to 1200 A.D. Here, Mathura School of art was developed by Gandhāran artists with local touch. The images of Kuṣāņa period, Gupta period, as well as pre and post medieval period, were obtained from the site. In exploration, the plinth of the stupa, two Jaina shrines and many buildings were recognised. Later on, the reference of this Deva Nirmita stūpa in Yasastilaka campū64, Avaśyaka cūrṇi65 came to light. Dr. Bulhar66 found out the mention of this stūpa in Vividha-tīrtha-kalp as advised by B. Indraji, while V.S. Agrawal found the detail of Śalabhañjikā in Rayapaseniyam sutra.
2.8 The Dispute between Jainas and Buddhists over Stupa and its Reconciliation:
In the Tika of Vyavarsutra (Vyavahāra-curņi), Malaygiri mentions that the stupa was wonderful, but afterwards controversy arose between Jainas and Buddhists as to whom did the stupa belong, and this continued for six months. Jaina Sangha requested the same sadhu to seek the goddess' help to end the crisis. The Devi appeared while he was meditating and suggested to take king's help for solution. The king declared that if in the morning, a white flag is seen on the stupa, then it is a Jaina stūpa and if a red flag is seen, then the judgement would be in favour of the Buddhists. At night, a white flag appeared on the stupa, but out of jealousy, some Buddhist laid a red flag, which was surprisingly changed again to white by the deity. In the morning the king saw the white flag on the stupa and declared it to be of Jainas.
64 Handiqui, K.K. 1949, op. cit.
65 Avasyaka cūrņi, I, 472.
66 Bhagavanlal suggested referring the same in V. T. Kalp.

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68 I)
63
The same story is available with minute changes in Hariśena's Brhatkathā-kośa67 (Vairakumāra Ākhyāna), Somdevasuri's Yasastilaka campu68 (Vajrakumāra story in sixth Āśavāsa) and V. T. Kalpa.
The author of 'Yaśastilaka campu' narrates the story of erection of the stūpa with a little change. In Mathura, there was a king named Putikāvāhana. His first wife, Urvilla, the queen, was a follower of Jainism. At that time one Buddhist monk brought up an orphan girl to their monastery as acquainted with the prophecy that her destiny was to be the chief queen of the king Putikāvāhana. After few years, she grew up as a charming and beautiful lady. When the king saw this young lady in the Buddhist monastery, he did marry her, but after promising her to be made his chief queen. Once, the first queen, Urvilla, wanted to send a Jaina ceremonial chariot in the city for an eight-day procession as usual. But she could not do so, as the new chief queen used her influence to stop the Jaina procession in the city. The new queen organized another festival in honour of Buddha instead of the usual procession. Urvillā immediately approached the Rși Somadatta to inform him about the situation. The sage promised to do the needful for the continuation of the old practice. He called his disciple, Vajrakumāra, who was his son before renunciation and requested to use his magical powers for the continuation of the practice of procession. Vajrakumāra used his Vidya and descended from the sky with a group of Vidyadharas carrying flags, mirrors, golden jars, chariots, horse carts and musical instruments and went to Uurvilla's palace. From there, they went around in the city for eight days, as is supposed to be the procession, and then erected a stūpa with the image of the Arhat. Since then, the shrine was known as 'Deva nirmita'.
Jinaprabhasūri describes the myth regarding the controversy over the right to the stupa with Vaiṣṇavas, Śaivities and Buddists in later period69. They all claimed their individual proprietorship. The dispute was over with intervention by some mediators of the city. They advised "Mā Kalaheha! (Don't Quarrel!), this is the 'Deva Nirmita Stūpa' so doubts
67 Vairakumara-kathanak - Brihatkathakosha (Harishen), (Bombay, Bharatiya Vidyabhavan, 1942), pp. 22-27.
Trans. Sundarlal Shastri, Varanasi, Yaśastilaka campu,.
II) Handiqui, K.K., pp. 415.
69 पहाए लोआ विबुद्धा तं थूभं पिच्छंति परुप्परं कलहंति अ । केई भांति - वासुइलंछणो एस सयंभू देवो । अन्ने भांति - सेससिज्जा ठिओ नारायणो एस। एवं बंभ- धरणिंद - सूर - चंदाइसु विभासा । बुद्धा भांति न एस भो किंतु बुद्धंडउ त्ति ।
-V.T. Kalp, pp.17

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will be clarified by deity only. Keep a painted cloth (pado) with the name of one's own deity and hide it. The Devi will keep her own faith and other padas/planks will be thrown out.” Jaina Sangha wrote Supārsvasvāmī on the plank and this pado/plank remained there and others were thrown by Devi70. The king declared the shrine as Arihanta Deva stūpa and the painted cloth with the name of Arihanta - Supārsvanātha was carried around in a procession, later, in the city. From the above references, one can conclude, that the stūpa was erected by the deity, therefore it is said to be 'Devanirmita'. There was a quarrel between Jaina and other faiths regarding their rights in the same, where Jaina Sangha's claim was passed by the king. Thirdly, it also proves that Jainas were worshipping the stūpa before and after the issue arose about its belonging.
2.9
The Stūpa Architecture: The construction of stūpas in the memories of great people is available in all Indian traditions, as the art and architecture of India was never sectarian. Marshal associated the Sirkap stūpa near Taxila with Jainism. Havell, the historian, talks about the existence of many Jaina stūpas during the Mauryan period As we have seen, the stūpa at Mathurā, was the oldest known building structure after Mohen-jo-daro, as described by V.A. Smith. He suggested that the same was erected not later than 600 B.C.72. The inscription on a pedestal (J.20LM., fig. 24) informs us that it was established by deities. This may be one of the reasons, as we have similar legends about the city Dvārakā and the pyramids of Egypt, also being constructed by deities. In all the above cases, their antiquity might be forgotten, and hence they were called erected by deities. Even the art before Mauryan period was called 'Deva art'. The available entrance Toraņa archway,
70 तओ मज्झत्थपुरिसेहिं भणिअं - मा कलहेह । एस ताव देवनिम्मिओ ता सो चेव संसयं
भंजिस्सइ त्ति । अप्पप्पणो देव पडेसु लिहित्ता निअगुट्टीसमेआ अच्छह । जस्स देवो भविस्सइ तस्सेव इक्को पडो थकिस्सइ। अन्नेसिं पडो देवो चेव नासेहिइ। संधेणावि सुपाससामिपडो लिहिओ। तओ लेहिअनिअनिअदेवपडा सगुट्टीआ पूअं काउं नवमीरत्तीए सव्वदरिसणिणो गायन्ता ठिआ। अद्धरत्ते उदंडपवणो तणसक्करपत्थरजुत्तो पसरिओ। तेण सव्वे वि पडा तोडित्ता नीया। पलयगज्जिरवेण नट्ठा दिसोदसिं जणा। इक्को चेव सुपासपडो ठिओ। विम्हिआ लोआ। एस अरिहंतो देवो त्ति । सो पडो सयलपुरे भामिओ।
-V.T. Kalp, pp.17 71 V.K. Sharma, History of Jainism.., 2002, pp. 224 72 V.A. Smith, op.cit. 1900, introduction.

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bearing a stūpa, worshipped by Centaurs and harpies (fig. 19, 20), as well as the Ayāgapatta of wheel (fig. 108), with the depiction of a half lion and half man adoring the symbols of three jewels, stūpa and caitya tree also prove the antiquity of the same, long before the Kuşāņa period. Another arch of door lintel now housed at the Delhi Museum has a carving, of the stūpa building higher than other buildings in the scene of city procession. Cunningham noted the measurement of the Kankālī Tīlā - 400 ft. X 300 ft. The higher portion at the eastern end of the mound was 25 ft., being 60 ft. broad at the top, while the base was 150 sq. ft.73. Here the bricks and other material were repeatedly taken by natives, and yet it was so high. (Orders were given to raze the structure to the ground by Gazani, during his invasion.) The stūpa depicted on āyāgapațța (fig. 41) and Toraņa (fig. 19) have similar structure like Samavasaraņa. Dr. U. P. Shah has compared the stūpa with Samavasaraṇa and Ziggurat (fig. 42). The Ziggurat is a peculiar feature of Sumerian architecture which could be traced back to chalcolithic period74. They existed in Mesopotamia, at least up to 539 B.C., before getting ruined but were remembered by the people. Later on, Persian artists drew a painting (fig. 42) of the same. They would have been familiar to Indians, from the time of the Indus valley civilisation, as Indians had trade relations with Sumeria and Babylon. The structural conception could have appealed to the Indians. Dr. Shah discussed the stūpa architecture by considering the views of Dr. V. S. Agrawal:
Dr. Agrawal noted in his article on “Some Foreign words in Ancient Sanskrit Literature”75 that the Samavasaraṇa is based upon the architecture of a stūpa. The Gandhakuti is pavilion (open on four sides) on a dais in the centre of a Samavasarana so Jina can visible from all four sides. The multi-tier shrines illustrated by Coomarswamy in HIIA, fig. 69 and 69A, of the stūpa may be compared with Samavasarana and Pañca-meru. Dr. Shah remarked that the conception of stūpa has its basis in the Ziggurat or Jarukā. He also noted that Ziggurat is a stepped pyramid having three stages76.
73 Henrich Luders, Mathurā Inscriptions, edited in 1961, pp 39-40. 74 Woolley, Sir Leonard, Excavation at Ur, (London, 1934) pp. 125 75 I) J.U.P.H.S. vol. XXIII. 1950, pp. 151-152,
II) U. P. Shah, Studies in Jaina..1955, pp. 56 . 76 U. P. Shah, ibid, Appendix.

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2.10 The Available Artistic Sculptures from Jaina Stūpa:
Mathurā was considered one of the greatest art centres in India. The art activity was at its peak from pre Kuşāņa to the Gupta period. The rulers of Mathurā have always patronized the Gandhāra and Mathurā art schools. Artists of both schools had worked hard to produce memorable wonderful railing pillars, toraņas, Āyāgapattas, brackets and images with full devotion and skill. They have their own aesthetic value. As per historians, the Kuşāņa period was between 1st century A.D. to 176 to 200 A.D., or a little early. Here, excavated specimens are of 2nd century B.C. to 11 century A.D. i.e. Kşatrapa, Kuşāņa, Gupta and the medieval period. These sculptures are now housed in the Government museum at Mathurā, State museum at Lucknow, National museum at Calcutta and Delhi, Albert museum in London and at many other places. They illustrate the periodic development of iconography of the Jaina images. The railing pillars with cheerful, elegant charming Śālabhañjikās are the finest creation of Indian art. They are shown engaged in their favourite routine work like going to adore deities with a basket of flowers and offerings (fig. 7), playing with a ball, plucking flowers from the trees, seeing herself in a mirror (fig. 5), drying her hair after bath (fig. 6), etc. The delicacy of women is depicted in a very methodical manner including the manifestation of feelings of day to day routine work. The aim of art objects is to eradicate one's passions-anger, pride, deceit and greed, and to show the path of purification to reach complete liberation /eternal bliss. To convey this message of philosophy, the artists chiselled the sculptures in such a way that while observing them, viewers can grasp its significant aspect of spirituality. Here the divine figures with physical beauties are always shown in the service of Tīrthankaras.
2.11 Jaina Images:
We know that Jina images are always depicted in Yogic posture, either in Padmāsana or Khadagāsana. Most of the images of the Kuşāņa era are portrayed with a broad chest and thin waist, exhibiting Veera Rasa. Other Rasas such as Sānta and Karuna are evoked on Jinas' faces by their personal skill to stimulate calmness, equanimity and happiness in the minds of viewers. The depiction of broad chest, arms up to knees and heavy shoulders by the artists shows the Mahāpuruşalaksana of Jinas.

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Mostly Jina images are depicted with Usnisa, Śrīvatsa, Cavardhāris and devotees; its pedestal serves the development in belongings of ascetics of both traditions-Shtavīra Kalpi & Jina Kalpi (with and without lower linen).
The Jina image of Rsabha is carved with locks of hair falling on his shoulders (fig. 43). He did not perform Pañca-musthi Loca (Pulling out the hair from five places on head) as other Jinas, but kept two locks as requested by Indra. His image with such carving is available from the Kuşāna era onwards. Pārsvanātha is depicted with canopy of Dharanendra (fig. 44). The carving of the Neminātha image with the company of Krsna-Balarāma (fig. 45) available since the Kuşāņa period discontinued after the late Gupta period, though one such image of medieval period is found from Dempier Nagar, Mathurā77. This is a unique feature of Mathurā's art school for carving Aristanemi image. The depiction of all 24 Jinas was not in vogue during Kuşāņa period, but Rşabha, Nemi, Pārśva could be recognised with their characteristic appearance while Mahāvīra, Munisuvrata, śāntinātha and Sambhavanātha could be known by their names in inscriptions. Out of 119 Tīrthankaras figures available from Mathurā, 93 are in sitting posture (padmāsana), while others are in the standing position (khadagāsana). Standing figures are without lower linen but their eyes are open, while in the padmāsana figures nudity is not visible. Dr. U. P. Shah suggests that the difference between the Jina image of the Svetāmbara and the Digambara in respect of nudity didn't exist in Kuşāņa and in Gupta Period. Here, there is no hint of separation. It seems that the difference between the carvings of images in both sects may have started in post Gupta period78. The earliest image available from Mathurā is of 2nd B.C. On the Āyāgapatta of Sivaghosika, Pārsvanātha is carved with Gañadharas. Here the gradual evolution in the art of image making, is seen.
2.12 The deities assimilated in Jaina pantheon:
While studying the sculptures of Mathurā school, it appears that the adoration of Yaksa-Yaksī cult was already in practice. The depiction
77 Cat. of Jaina anti.in Mathurā Museum, 2003, pp. 142. accn. no. 2000.42 MM. 78 Shah U. P., Studies in Jaina..., 1955, pp - 11

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of Naigameśa, Kșetrapala, Sarasvatī, Lakşmī, Ambikā, Vidyā etc. are available since the 1st year of Kuşāņa period, while the adoration of Āryāvatī is even prior to Kușāņa rein. In one of the archaic frieze, Naigameśa, is shown seated on a lion throne79, after transferring the embryo (fig. 14) of Mahavīra. Here sweets are shown offered to him as a mark of honour. The words "Bhagawan Nemeso"80 are depicted below the throne. Deity, Naigameśa performs the duty by Indra's command. The reverse of the frieze illustrates the scene of dance and rejoicing with music being played on a harp. The story of the deity is available in Kalpasūtra, Antagadadasāo, Nemināthacaritra, Susruta-samhitā etc. Total sixteen images of Naigameśa are in both forms, male and female with the head of an antelope or a goat are excavated. Out of them 14 are in Mathurā museum, one is in Lucknow museum while one is outside India. The deity is not shown carrying any weapons, maybe because of his association with children. There is a reference of Yaksi Naravāhana Kuberā, Simhavāhana Ambikā and Svāna-vāhana Kșetrapāla Yakṣa protecting the tīrtha8l as per Vividhatīrtha-kalpa. Some armed śālabhañjikās found in excavations are likely to be of such deities showing their distinctive character as guardians. The two Śālabhañjikās (1.63 and J.64 MM) were found flanking the Ayāgapațţa of stūpa (Q2 MM). They were brought from Mukund Kuvā at holy gate82, Mathurā. One separate image of Kșetrapala (Bhairava) with Jina on his head looking very ancient available from Mathurā, in 1960, shows the separate cult of protective deity in Jaina pantheon. Though this image is without any inscription, but its art suggests a totally primitive look. Here, Jina is sitting on his head. An image of Laksmī, (fig. 35, 0.210 LM.) found from the site resembles the image of Sarasvati of the same period, hence it may be of Jain pantheon. She is holding a full blown lotus in her left hand, while the right hand is raised to bless the devotees. She is flanked by some divinities though beyond recognition but might be Kubera and Kuberā. Her Uşnişa is like āryāvatī. Another image (fig. 46) of a deity wearing thick anklets also seems to be Lakşmī. She is included in the dreams of
79 V. Smith, 1901, The Jaina Stūpa at Mathurā.., pl- XVIII, obverse and reverse. 80 LL No. 101 81 Ft helt ROE 31fa311 9 HECEU faTac 37 FR3Takut forcement de grauifar I -V.T.
Kalpa., pp. 19. 82 V. Smith, The Jaina Stūpa at Mathurā..,1901, pl. C III.

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69
Tīrthankara's mother. The 45th chapter of Vividha-tīrtha-kalpa comprises with the names of the sacred tīrthas of twenty four Jinas. Here the author informs us that Sri Supārsva's stūpa was established by Mahalaksmī - 'Mathurāyam Mahalaksmī nirmitah Sri-suparsva-stūpah'. Thus Kuberā and Mahalaksmī seems to be the same. One image of Pārsvanātha found from the site is worth mentioning, it has a yakşi in his canopy (fig. 47). Also there are two separate sun images (fig. 30, 129) obtained from the Kankālī Tīlā site showing that the worship of such deities in Jain pantheon was popular in Kuşāņa period. The third image of sun could be recognised with lotus in hands as noted in the book. The Jaina Stupa at Mathura by V. Smith (pl.xxxi). A beautiful sun image of early medieval period is worshipped at Sankhesvar (fig. 130).
2.13 The other Important Archeological Artifacts:
There are so many sculptures besides images of Jinas and Yaksa-Yaksi obtained from Kankālī Tīlā. The life incidents of Jinas and important personalities are narrated in sculptures like Buddhist tradition. A frieze depicting the dance of Nīlāñjanā (1.609 LM. fig. 13) is well executed by Mathurā artist. The story of Vålkalaciri is beautifully carved on pillars 83. Here, both sides are divided into equal compartments, to represent the scenes. Each compartment has railings and posts. On the back elevation, in the first compartment, Valkalaciri is chiselled with animal skin clothes (fig. 48, back 49). Besides, life incidents of great personalities, the other sculptures like the brackets, Toraņa beams, pinnacle of gateway, auspicious objects, perforated windows 84, coping stones, etc. are carved superbly. Here, the ornamental bosses on railings deserve special notice.
2.14 The Comments of Historians and travelers:
In the course of time, the sacred city, Mathurā, suffered heavy destruction by invaders. On seeing the broken pillars, Śalabhañjikās, mutilated images, colossal heads, pedestals, brackets etc. of Mathurā in various museums, we wonder about the massive amounts of temples and idols within just one city! The doubt is cleared by the words of Al-Utbi in “Tarikhe-yamini"
83 V.Smith, The Jaina Stūpa at Mathurā... 1901, pl. XXVIII. 84 Ibid., pl. XL & XLI.

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"The wall of the city was constructed of hard stone, and two gates opened upon the river flowing under the city, which were erected upon strong and lofty foundations, to protect them against the floods of the river and rains. On both sides of the city, there were a thousand houses, to which idol temples were attached, all strengthened from top to bottom by rivets of iron, and all made of masonry work".85
Al-Utbi was a secretary of Ghazani. He mentioned all the information. regarding his campaigns in "Tarikhe-yamini". Gazani sacked Mathurā in his ninth invasion. The date of invasion advancing towards Mathurā and surrounding area is given as 20th of Rajab, 409 H. (Hizari Samvat) i.e. 2nd December 1018 A.D. This is the first reliable record of an attack on the ancient glory of Mathura and its neighbouring area. He entered India with his ten thousand soldiers. The king who held the passes leading to Kaśmira accepted his sovereignty and guided Sultan. and his army to the dense forests. The army travelled day and night until they crossed Jamuna river on about given date. The described places are identified by Firista, Jarbadkani and other Historians86. The place Barana is identified as Bulanda çity. In the view of Dr. Sagarmal Jain, the place Barana is Värnavata or Bäranavat where Pandavas were planned to burn in Läkṣagriha by Kauravas; here the Vāraṇa gana was introduced as Jaina ascetic order by Acaryas. The fort of Kulchanda having vast territory, enormous wealth and deep forests is recognized. as Mahābana near Mathură.
He first took over Barana/Barba, then marched towards Kulchand's fort. The king of the fort was very brave and fought with the Sultan in deep forest. When all attempts failed, the king and his army tried to cross the Jamuna river, but they were all either killed or drowned. The king Kulchanda first slew his wife with dagger, and then killed himself. The Sultan received enormous wealth, 185 elephants and other booty by this victory. After winning this battle, he and his army rushed towards a place called Maharātu, which was later recognized as Mathura. The author of the Vividha-tirtha-kalpa had described the city as Mahurǎura.87 "He noticed one huge building from the outskirts of
85 Elliot and Dowson, History of India as told by its own Historians, Vol. II, pp-44-5. 86 Elliot and Dowson, History of India as told by ...pp-42-43 fn
87 Jinaprabhasūri- V.T. Kalpa, pp-17.

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the city. On entering the city, he saw the same building with exquisite structure, which the inhabitants said, had been built not by men but by genii (deity), and there he witnessed practices contrary to the nature of man, which could not be believed but from the evidence of actual sight". 88 From Kankālī Tīlā, a pedestal (J 20 LM, fig. 24) unearthed, contains an inscription discussed above that it was established at stūpa which was erected by deity long before. One can guess that the unique enormous building described by Gazani was likely to be Jaina Stūpa. He further remarked gracefully and commendation"In the middle of the city there was a temple larger and firmer than the rest, which can neither be described nor painted. If any should wish to construct a building equal to this, he would not be able to do it without expending a hundred thousand red dinars, and it would take two hundred years to complete, even though the most experienced and able workmen were employed”89. The excavated colossal images of Mathurā were also described by the Sultān while referring the above building structure-“Among the idols
were five made of red gold, each five yards high, fixed in the air without support. In the eyes of one of these idols there were two rubies, of such value, that if any one_were to sell those, he would obtain fifty thousand dinars. On another, there was a sapphire purer than water and more sparkling than crystal; the weight was four hundred and fifty miskals. The two feet of another idol weighed four thousand four hundred miskals, and the entire quantity of gold yielded from these idols was ninety eight thousand three hundred miskals. The silver idols were two hundred in numbers”90. All these idols and temples were either Hindu or Buddhist or Jaina. Gigantic images of different Jinas in sitting and standing postures are still available at many places. A head of a Tīrthankara obtained from the site is 30 inches in height (MM. B.61, fig. 80), so one can imagine the total height of the statue. A colossal standing image of Rşabha (MM. 0.72, fig. 12) obtained from the site is of 3rd century A.D. The system of putting pure silver covering to the stone images studded with
88 Elliot and Dowson, op. cit., pp-44 89 Ibid, pp-44. 90 I) Ibid, pp-45.
II) F.S. Growse, Mathurā- a district memoir-2nd edi. 1880-pp-33.

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precious stones and putting diamonds and other valuable jewels for eyes still continues with Jainas in Svetämbara tradition.
After looting the wealth, the invader ordered to destroy and burn the temples with naphtha and levelled them to the ground. One image with a sticky substance is found from the site. (fig. 50). The Jaina stúpa at Mathura was so huge that after it was desecrated, it still remained 30 feet high at the eastern corner. Afterwards, it was renovated, and some new shrines and images were established within five years, which Jinaprabha adored and described in Vividha-tirtha-kalp.
The book on Mathură city, Mathura: A district Memoir' by F. S. Growse and Oxen, first published in 1874 A.D. & then in 1880 A.D. describes the booty carried by him
"Among the spoil, are said to be five great idols of pure gold, with eyes of rubies and adornments of other precious stones, together with a vast number of smaller silver images, which, when broken up, formed a load for more than a hundred camels. The total value of the spoil has been estimated at three million rupees; while the number of Hindus carried away into captivity9l exceeded 5000. At that time, the city was plundered for twenty days".
Regarding the name of a Tīlā kańkālī, Growse writes that
"A fragment of a carved Buddhist (?) pillar (Here author doubted that it may be Jaina) is set up in a mean little shed on its summit doing. the duty of goddess kañkäli, by which the tila was known"92, Henrich Growse also talked, that occasionally the hill was called the Jainī tīla93. The book on Mathura by Growse, impressively contained all aspects including, the folk lore94 which means
"The cows of Gokul and the daughters of Mathura are best taken care, if they go out, means welcoming the bad luck."
When Growse first published the said book and also the revised edition after six years, Kankali-Tīlā was in the initial stage of excavation. He mentioned the engraved elephant pillar with the name of the reigning
91 Growse, Oxon- Mathura- a district Memoir.. pp-33.
92 Luders, Mathura inscriptions-pp-40.
93 Ibid
94 See the chapter 'Place of Mathura in Jainism' in this book.

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king Huviska, in year 39. Besides this, he found some more fragments of images. It is observed, that till 1880 only some sculptures were found but afterwards tremendous artefacts were received from the site including a pedestal with the words "..... Deva Nirmita Vodva Thubhe” (fig. 24). The account of Utbi and Firista clearly shows that Mathurā /Mahuraun was completely ruined by Gazani's army. Afterwards the Jaina sangha had either renovated the shrines or constructed a new, next to the ancient stūpa, as per the inscriptions on images (1023 A.D. and 1078 A.D.), continuing the same name, 'Deva nirmita' for the shrines. The city was again looted in fifteen century by Sikandara Lodi and then by Ahmad Shah Abdāli in 1757 A.D. Aurangzeb also plundered the city in course of time. During such a period of constant religious turmoil, the priests were not accepting lavish donations. The system of constructing temples looking like mosques and ordinary houses was also introduced by local priests. In the reign of Akbar, Sāhu Todarmal built five hundred and fourteen new stūpas at Mathurā with Akbar's permission. The celebration of the same was held in 1573 A.D.95, but the author of the book 'Jambusvāmi Caritra' noted that Sāhu Todarmala renovated 515 stūpas which were in ruined condition. Because of the similarity in Jaina & Hindu shrines and their secular religious endurance, very often Jaina shrines were referred to as Hindu shrines. The book 'Āine Akbari' by Abul Fazal describes some Hindu temples at Mathurā. Another account of the city is mentioned by a Christian missionary, Father Montserrat when he visited Agra and its neighbouring area between February 1580 and April 1582 A.D. He was invited by Akbar at Fatehpur Sikri. He travelled from Goa to Sikri. While passing through Mathurā, he saw the city in a ruined condition. He comments - "It used to be a great and well-populated city with splendid buildings and a great circuit wall. The ruins plainly indicate, how imposing the buildings were. For out of forgotten ruins some ancient statues of skilful
95 I) Sharma V. K. Reconstructing Ind. Hist. pp. 237, II) J. P Jain - "Pramukh Aitihasik Jaina Purusa Aura Mahilayen”, 1975.,in Podar Abhi.
Grantha., pp 285

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and cunning workmanship are dug out. Only one Hindu temple is left out of many, for the ... have destroyed all except the Pyramid"96. Here, Father talked about the existence of a pyramid at Mathurā, which might be a Jaina stūpa visited and adored by Jaina Ācārya Jinaprabha. The Father might have called the shrine as a pyramid due to its domeshape. Above references reveal that by the time scriptures were codified at Vallabhi and Mathurā, fully developed Jaina temples, stūpas and images already existed. According to Dr. Sagarmal Jain - “In Jainism, the stūpa tradition flourished from 200 B.C. to 500 A.D. One of the branch of Jainism - Yāpaniya tradition, existed between 5th to 15th century A.D., was known as Pañca-stūpānvaya. Mathurā was considered its chief centre so there might be a possibility of existence of five stūpas. The construction of stūpas reduced by the gth century with the development in Jaina shrines and Caitya-pillar. When Vividhtīrtha-kalpa, was composed by Jinaprabhasūri the stūpa at Mathurā was standing with some renovation”.
96
1) The commentary of Father Monserrate, on his journey to the court of Akbar -
translated by J.S. Holyland- 1922 pp 93. II) A. L. Srivastava - Akabar the Great', VI.-III, 1973, pp 11: III) Sharma V. K., Reconstructing Indi. Hist..., pp 238.

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Since ancient times, Indian artistic activity developed because of system of depicting events, philosophy and myths on stones in the form of art and inscription prevailing at that time. The manner in which it is represented with essential elements of art, place, name of the ruler, period, donor, and/or inspired ascetics reveals many facts and figures about the states. Mathurā played a significant role in developing religious activity in Jainism like other faiths.
3.1
The Evolution of Jina Images : The Jaina stūpa at Kankālī Tīlā witnessed a new cult in worshipping images that continued to medieval period. The tri-tīrthī, sarvatobhadra, pañcatīrths and 24 Jinas on a stele are the product of Mathurā art style The Āyāgapatas, nimbus, attending deities, asta-prātihārya around Jinas, a wheel on a pedestal flanked with fourfold community first appeared here.
3.2 The Development of Mathurā Art Style:
To comprehend Mathurā school of art with Gandhāran and Hellenic influence one must know the historic ups and down of Hellenic race, culture and art style. The discoveries -of various civilisations like Ur, Kish, Indus, Mesopotamia etc. disclose that people were travelling in different countries for trade and migration. Greece had commercial and cultural exchange regularly with ancient India during the period 1000 B.C. to 500 B.C.1 The Greek adopted the oriental culture and art, however it declined slowly in Greece and Gandhāra. Dr. Ghosh mentioned about the development of Gandhāra art during early Christian era, after he visited Barcelonā, Spain, Egypt and Greece in 1926 A.D., “When Alexander the Great invaded the Near East and India, Hellenic art like the Hellenic race was already in full decadence; and though it added a new element to Eastern Art, it filled its vacuity of spirit and barrenness of heart with new ideas, forms and archetypes of manhood and godhead from India, as we see in the Greco-Buddhist art of that epoch, linking Greece again with India and the Orient. The Greco-Buddhist art of Gandhāra and Bamiyan was followed by the Romano-Buddhist art of Amarāvati and Nāgārjunikondā, thus proving that the East and the
1
Gosh, "Art pilgrimage Through Greece", in Discovery of Asia, ch.-3, pp. 604.

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4
5
West were collaborating, as ever, through their art creations no less than through exchange of goods as attested by Periplus and Pliny, Strabo and Virgil".2
As observed by Dr. Ghosh, Gandhara art style is said to be a Hellenic art with Indian influence. This shows that artists were migrating to develop the art schools of their own where the creativity was never restricted within limits of states and boundaries.
The place Gandhara denotes ancient Indian Territory covering Peshawar, Swat (previous name is Uḍḍiyāna), Bunāra in the North region up to the Indus in the east and the neighbouring districts as well as Takṣaśilā in the south east. The whole region was divided mainly into two parts - Puskalāvatī3 and Takṣaśilā1.
3.3 The impact of Gandhara Art style on Mathura School:
The influence of Hellenistic work is traced on some of the Ayagapaṭas and capital brackets from Mathurā - viz. the wine-creeper on a side of an Ayagapaṭa (fig. 106) donated by Śivaghosaka's wife, a pair of lion with a human face flanking the symbol of three jewels on an Ayagapaṭa of a wheel (fig. 108), a border of wine creeper on the back of an Ayagapata (Q 3 MM.), the veneration of stūpa (fig. 19, 20) by centaurs (Kinnaras) and harpis (Suparnas), etc. These are the excellent examples of adoption of Assyrian art by Mathura artists.5
Gandhara was connected with many road routes for easy transportation. Even Megesthenese travelled through Royal road from Gandhāra to Pataliputra. The people from Greece, Persia, India, China, Mesopotemia etc. resided together in Gandhāra to develop their business and art. The traditional and cultural art depicted on stones by the Gandhara artists have left ever lasting impression on Buddhism and Jainism, viz. life incidents of Buddhas and Jinas as well as śālabhañjikās showing women delicately engaged in their routine work.
The influence of the western art entered Gandhāra territory under the Parthian patronage, became the characteristic of Gandhāra art style which
Ghosh, Art pilgrimage..., 612.
It is called Carsada, but again changed to Puṣkalāvati as per the lecture on Indus Civilisation in seminar (Bombay Uni., 2007).
East Gandhāra now Taxila.
-
Smith V., Jaina Stupa at Mathura, 1900., pl. - XLIII, pl. - XXXVII, pl. - X, pl. - VIII (fig. 27).

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later on was absorbed in Mathurā products. It adopted salient features of Gandhāra art style in chiselling images which were fleshy, muscular (fig. 51,53), draped in dress much alien to Indian soil, beautiful hair-do, profuse jewellery, well-built physique, halo behind the head (fig. 52), etc. The Gandhāra School was most fruitful and accurate in displaying the narrative sculptures forming a unique source of Buddhist religious documentation. The same narrative pattern was used by Mathurā artists to depict important life incidences of Tīrthankaras in the stūpa and shrines at Mathurā. The artists were using common features in carving any image either Brahmanical or Buddhist or Jaina. There is no Jaina image found in Taxila, but only references in Jaina traditions about the establishment of dharmacakra7 in Cakra-tīrtha by Bahubali, the son of Rsabhadeva. Here Cakra-tīrtha might be a tīrtha with a cakra in a shrine. There were two vital centres for art activities in India under Kuşāņa Empire namely Gandhāra and Mathurā. Though Mathurā art was little indigenous it borrowed some ideas from north-west and applied them within own social norms and culture. Both were patronised by the chief rulers of Kuşāņa dynasties viz. Kaniska, Huviska and Vāsudeva, hence they succeeded in exchanging their ideas. The adopted Gandhāran style is noticed on many sculptures of Mathurā school as mentioned earlier. Kșatrapas ruled at Mathurā for a short period before Kuşāņa kings took over the entire territory. They are remembered for three inscribed sculptures which include the period and the names of consecrators1. Āmohini's Āyāgapața (Accn. no. J 1 LM., fig. 33). 2. A Lion Capital with Kharosthi inscription now in British Museum,
London. 3. A torso of Jina with the inscription at back. (fig. 39, 40). The stylistic features of Mathurā school of art: The excavated materials in Gandhāra region, reveal that the same was a main Buddhist centre since Aśoka's reign. The artists of this school were deeply influenced by Greek art and stressed more on outward features while Mathurā artists developed specific ‘Mathurā School with their perception and knowledge of religious philosophy, culture and society. They had their own skill developed before adopting Gandhāran art style
3.4
6 7
Joshi N. P. and Sharma R. C., Gandhara Sculptures in the state museum, Lucknow, pp. 1. Shah U. P. Studies in Jaina Art, 1955, pp 10 and fn. 1.

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3.5
which could be seen on beautiful artistic Āyāgapatas and the Parkham statue of yakṣa and other gigantic images of early Kuşāņa period. Agrawala V. S. remarked about the image of the yakşa Manibhadra found at Parkham village that it was regarded as the presiding deity of carvan merchants. The artists didn't blindly adopt the method of orient but made progress with Indian philosophical thought. The accepted few elements from Gandhāra schools are• The carving of heavy and short body of Tīrthankara (fig. 53, 54) • Wavy curls (fig. 56) • Sharp eyes with heavy eyelids (fig. 57). • Smiling face (fig. 54) • The peculiar style in depicting abdoman (fig. 55). The salient features of Mathurā School (in detail): 1. The sculptors adopted the characteristics of great personalities
(Mahapurusa lakṣaṇa) in carving of Jinas like hands reaching up to knees, śrīvatsa on chest, auspicious marks on finger tips, etc. (fig. 72) including manifestation of serenity (santa bhava) with
smile on face (fig. 60). 2. Jaina tablets of homage were chiselled with Jina at centre medallion
surrounded by symbolic ornaments. Even representation of Jaina religious motifs like three jewels, wheel, svastika, nandyāvarta, etc.
were also popular. 3. As seen, Mathurā artefacts are in round (fig. 2, 3 and 4), where
many of the reliefs have shown narrative stories on obverse with its consequences on reverse as shown on the frieze representing legend of transfer of embryo of Mahāvīra by deity Naigameša. The women on cross bars standing on some strange person or animal seem to be yaksis (fig. 58A, 58B, 112). Here the artists depicted wonderful carving on the reverse showing their mastery in carving hair styles, ornaments, garments as well as the human and animal bodies. Thus a powerful impression of Gandhāra art is noticed on Mathurā school, chiefly in adornment of animals with human faces, creepers, flowers, etc.
8
Shah U. P. and Ernest Bender, "Mathurā and Jainism”, in "Mathurā - The cultural Heritage" ed. Doris M.S. op. cit. (1989): fn. 213.

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The available toraņa, from the site, displays the minute details prevailing at the time in city procession (fig. 59), where some are holding articles for adoration or standing with folded hands. The bullock cart, horse cart, single and double storied buildings and the stūpa in the vicinity reveal the affluence of Mathurā
city. 4. In Mathurā, Jina images were chiselled with the data of king and
donor's name, the place of installation as well as the year of establishment.
More than eight auspicious symbols are elegantly chiselled on Āyāgapatas and parasols. They adopted ancient social and religious motifs like śrīvatsa, svastika, lotus, cakra, lion, elephant, Asoka and Kadamba trees, creepers as well as flowers with tiny buds. They introduced some new western motifs in their art specimens like lion with some strange face, animals with human faces, animals similar to dinosaurs
(fig. 59), grape creepers, different hair style, hair band etc. 6. Mathurā artists also decorated the entrances of shrines on two
Ayāgapatas - Sivayasā (fig. 109) and Lonaśobhikā (fig. 41) similar to Indian tradition of adornment like hanging bunch of flowers, bells, decorative ropes, etc. The unidentified objects displayed on the entrance of stūpa on Ayāgapatas (fig. 41, 109) are twisted flower garlands (vandanvāra) though look different from a distance. Such decoration is also noticed on the reliefs from Bhārhut and also on Āyāgapața of Āryāvatī (fig. 33). Artists depicted prolonged musical instrument Harp at least on three artefacts. Mathurā School of art seems to be little primitive, but then also succeeded in carving marvellous stone images expressing calmness (santa bhāva) on faces of Jinas (fig. 60).
3.6
The Veneration of Auspicious Symbols (Mangala - pratikas) in Jainism : The adoration of tree, river, mountain, cow, elephant, lion, bull, svastika, śrīvatsa, kumbha, cakra, etc. are common heritage of chief faiths in India. Jainism has its own philosophy, thought, beliefs and rituals developed in course of time. The depicted symbols on art motifs express the philosophy at a glance to laymen. Tīrthankaras established Tīrthas to

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deliver the sermons for welfare of mankind sitting under caitya-vṛksas in a samavasaraṇas formed by Indras but in their absence the process of awakening is carried out by symbols. The Rāyaṇa-vṛkṣa at the top of the mountain Satruñjaya is adored by lakhs of the devotees where the foot print of Arhat Rṣabha was installed. Even the river Satruñji is considered sacred. The veneration of cakra' by three devotees (1st B.C. Mathura), the establishment of symbols on thrones on Ayagapata (fig. 105), two early bronzes caitya-vṛkṣa and a wheel (fig. 63) from Causa in Bihar support the early existence of the independent cult of symbol worship.
The beautiful artistic sculptures representing message of Jaina philosophy placed in peaceful shrines situated with natural surroundings serve as a teaching school for purification and development of the soul. They are created for conveying the deep coherence of religion. Besides common symbols of adoration, many auspicious symbols accepted in Jainism like Ayagapaṭa, caitya vṛkṣa, caitya stambha, stūpa, three jewels (tri-ratna), aṣṭamangala, sthāpanācārya, the dreams seen by Tirthankara's mother and 24 lañchanas of Tirthanakaras.
The mountains like Satruñjaya, Girnāra, Sammetaśikhara, etc. are also considered sacred. The foot of these mountains are worshipped by devotees calling as 'Jai Taleti'.
Mangala (Subha):
The word mangala is derived from the root 'Magi-gatyarthaḥ to Mangateralac' with a termination (Pratyaya) 'alac' or 'ala' form final word mangala10.
In Tiloya-panṇatti, Acārya Yatirṣabha has defined as One who melts, reduces, destroys and finishes the unauspicious happenings is said to be mangala.11
In Daśvaikālika-curņi, it is explained as -
9
Rastogi S. Lucknow Samgrahalay ki Jain Pratimaen.., 2002, pl. 1, fig. 1.
10 'मगि- गत्यर्थः ' धातु से 'मंगतेरलच्' से 'अल' से 'मंगल' । - H. Pandaya "Jain Vanmaya me Asṭamangala ek Addhyayana", Tulasi Prajña, publication, (Ladanun, April-June, 2006) pp. 11.
11 गालयदि विणासयदे घादेदि दहेदि हंति सोधयदे ।
विध्दंसेदि मलाई जम्हा तम्हा य मंगलं भणिदं ।।
Tiloyapanṇatti, 1-9.

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One who saves (person) from falling down to the hell is known as mangala and one which brings happiness and melts the sin is also a mangala. 12
Thus mangala reduces unauspicious happenings, spreads happiness in surrounding area and brings good fortune. Therefore it is a general trend that before commencing a journey, writing a text, or performing any social or religious ceremony the mangala is performed to get blessings from the Guru and God. There are plenty of materials considered to be auspicious (mangala) in Indian ancient traditions besides mentioned above, viz. to see or to touch objects like kumbha, Brāhmana, Vaisya, rice, mirror, curd, honey, fresh flower, Dūrvā (one type of grass), nirdhuma-agni (Fire without smoke), gold, a leaf, ripe fruit, maiden or married woman, dipaka, emerald, pearl garland, crunch, pigeon, peacock, etc. Shah U. P. has mentioned the auspicious objects of Mahābhārata period on the occasion of Arjuna's journey to war, where he looked and touched the mangala objects before proceeding for war among them a maiden girl was also mentioned. Synonyms of Mangala : In Amara kośa13, synonyms for mangala is given as śreya, śiva, bhadra, kalyāna, subha, bhāvuka, bhāvika, bhavya, kusala, kşema, sasta etc. Many Jaina shrines (mostly Digambara) have pillars (mānastambha) at the entrance having sarvatobhadra images on the top. An inscribed pillar obtained from Mathurā has an elephant, Nandi Viśāla at the top, setup in the year 38th of Huviska (L. L. no. 41). A sculpture J 268 LM, assigned to c. 2nd B.C. has a lion on a pillar (fig. 9, 10) with the carving of a couple worshipping the same by performing pradaksinā. The Āyāgapata of Sihanādika has two massive pillars having the wheel and an elephant on top (fig. 110). Many Ayāgapatas have such pillars on their sides.
12 I) H. Panday, “Jain Vānmaya me Astamangala ...", pp. 11, 12 II) + Righly 4 cila il via us for yafeti - Daśavaikālika-cūrņi, 15.
Hi qe cialfa HIGH I HI istefa farfa fa i - Dhavala-purāna, 31-35. 13 I) Tric TH ya Taifa
श्वश्रेयसं शिवं भद्रं कल्याणं मंगलं शुभम्। भावुकं भविकं भव्यं कुशलं क्षेमं शस्तम्।।
- Amara Kos'a, 1.1.4.3-4. II) Pandey H., “Jain Vārmaya me Astamangala.", pp. 2

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Three Jewels: In Jainism, this symbol of philosophy is accepted, signifying - the right knowledge, right faith together with right conduct that lead to salvation 14. This is an essential step to destroy karmas and to reach Moksa. The earliest form of nandipāda is available on Khāravela's inscription (Udaygiri - Khandagiri) cave at the end of second line showing its previous condition. It also appears on the door lintels of Rani-guphā, Ananta-guphā, and Ganesa-guphā situated at the same hill. The gateway of stūpa at Mathurā and the north and south torana at Sānci's stūpa are decorated with this motif. Some copper coins available from Taxila are representing nandipāda along with śrīvatsa. Two coins found from Sankisā near Mathurā assigned to 1st century A.D. have representation of a goddess, a crescent and a nandipāda.15 The dhàrmacakra from Causa (fig. 63) has 16 spokes with a hub in a centre. Its handle is carved beautifully flanked by a pair of female coming out from the mouth of makaras to support the wheel on nandipāda. In the view of Stella Kramrisch, these alligators have similarity with those of Bhārhut Railings. 16
This leads to suggest that this dharmacakra may have been in a shrine in 2nd century B.C. i.e. Sunga period. 17 Here makaras have turned their tails upwards to make three jewels with cakra at their intersection. The empty space within is carved with lotus. This three jewels symbol, along with other 23 in outer rim, forms a total 24 three jewels, symbolising the concept of 24 Jinas in Jainism, at least from Sunga period.
The symbol nandipāda is also seen at the centre of pedestal instead of dharma-cakra on some of the Jinas of Kusāna period (J.19 LM, J.20 LM). Wheel (Cakra): The worshiping of wheel is accepted by all religious sects in India as dharma cakra. Cakra has many implication when affixed with
14 /Samyak Jñāna, Darśana āņi Căritrāņi Moksa mārgaḥ/ 1st Gatha in Tatvartha-sutra. 15 Srivastav A. L., Bhārtiya kalā Pratika, (Ilahabad, Umesh Publishers, 1919), pp. 49. 16 See fn. no. 10 (1) of this book. 17 I) Stell a Kramrisch, Patana Museum Catalogue of Antiquities, (Patna, 1965), pp. 107. II) H. K. Prasad, "Jaina Bronzes in the Patana Museum", Golden Jubilee vol. (Mumbai,
Shri Mahavira Jain Vidyalaya, 1968), pp. 277.

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some words, gives rise to some special application and cycle like kāla-cakra, bhava-cakra, karma-cakra, sahasrāra-cakra, sudarśanacakra etc.
In every Indian traditions the concept of yantra/a mystic diagram is mainly based upon a wheel where its centre is important, while in concentration, it releases energy. Śrī-yantra, Siddha-cakra-yantra (fig. 64), Rsi-mandala-yantra (Mandala denotes circle / cakra) etc. developed in Jaina pantheon over a period of time. Most of the images of Kusāna period have a depiction of a wheel in the centre of the pedestal flanking with fourfold community (caturvidha sangha). The position of the wheel varies from Kuşāņa to medieval period. In Kuşāņa period the wheel is given prominent position at the centre, chiselled in various ways like1) Placed on a small pillar either vertical (J. 10 LM., J. 12 LM. fig.
11, 55, 88) 2) or Horizontal (fig. 45, 62) 3) on a Kumbha (I. 42 LM.) 4) on a head (J. 11 LM., J. 60 LM., J. 68 LM.). 5) Sometimes a ribbon passed through the centre of the cakra. (fig. 11) 6) In some cases it is carved on nandipāda to complete three jewels
(J. 20 LM., fig. 86) 7) An image of Aristanemi from Sonbhandāra, Rājagrha has a dharmacakra
at the back side of a yakșa standing in varada pose flanking by conches. 18
A vertical wheel might be symbolising the continuity of carrying the sermons of Mahāvīra till today as suggested by present Ācārya Kulacandraji.19 After fourth century A.D. it was carved at the same place on the pedestal but horizontal flanked with deer. The Āyāgapata representing wheel with sixteen spokes from Kankālī mound, is now in Lucknow museum. Its sixteen spokes might be symbolising sixteen special virtues (Bhāvanās)
18 Shah U. P. Studies in Jaina art, 1955, fig. 18 19 As discussed about vertical wheel with Ā. Kulacandraji during his Caturmasa at Mulund,
Mumbai in 2014.

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to gain Tīrthankara-nāma-karma as suggested by Rastogi S.20. Another sculpture is from the same site showing the worship of cakra by three men. Its art style gives indigenous look, suggesting it to be before Christian era21
The worship of wheel is popular among common people - the marriage ceremony commences with cakra pujā at potter's place. Moreover the journey to any place starts with the wheel puja of vehicles which also strengthen the olden system of cakra worship.
Sthāpanācārya: Besides the usual mangalas another article, sthāpanācārya, the symbolic representation of Arhat and preceptor is also considered pious in Jainism. The word sthāpana stands for establishment while Acārya for preceptor forms the word sthāpanācārya. A layman uses simple sthāpanācārya prepared from two broad wooden bands connecting from the centre while monks use this article made from the four wooden sticks tied at the centre and covering the top with ornamental cloth. A booklet of Navakāra mantra - a salutation to Jinas and preceptors is usually kept on the same (fig. 95). In this figure a Jaina ascetic is holding a manuscript, sitting in the front of sthāpanācāry. Usually ascetic delivers the sermons in this mudra. An image of a monk holding a Manuscript in above mudra is obtained from Kankalī Tīlā (early Gupta period) may be representing a Jaina preceptor (fig. 90A). His sitting posture could be compare with the image of Jinakushalsuri of late medieval period (fig. 90B)
3.7 Aștmangalas :
In Rāyapaseņiya-sūtra, Jambūudvīpa-prajñapti, sabda-kalpadruma and Trişaști-salākā-puruşa-caritra22 a few selected aștmangalas (eight auspicious articles) are described. It also serves as decorative top of architrave of the stūpa, shrines and houses.
20 Rastogi, Lucknow Samgrahalaya ki Pratimaen.... pp. 26. 21 Ibid, pl. no. 1, (accn. no. 66.46 LM.) 22 तेसि णं तोरणाणं उप्पिं अट्र मंगलगा पण्णत्ता, तं जहा -
सोत्थिय, सिरिवच्छ, नन्दियावत्त, वध्दमाणग, भदासणा, कलस, मच्छ, दप्पण जाव पडिरुवा। मृगराजो वृषो नागः कलशो व्यंजनन्तथा। वैजयन्ती तथा भेरी दीप इत्यष्ट मंगलम्।।
-Śabdakalpadruma, part-1, pp. 148.

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In Rājendra-kośa, the same is described separately dangling on Aśoka tree23.
It could be elucidated as a group of eight auspicious symbols depicted in a row. They are considered sacred symbols in all Indian Traditions. In Svetāmbara Jaina tradition - 1. Svastika 2. Śrīvatsa. 3. Nandyāvarta. 4. Vardhamānaka. 5. Bhadrāsana. 6. Kalaśa. 7. Darpana. 8. Matsyayugma. In Digambara Jaina tradition - 1. Bhringāra (jar) 2. Kalaśa 3. Darpaņa 4. Cavara (fly-whisk). 5. Dhvaja (Flag) 6. Vyajanā (Fan) 7. Chatra (Parasol) 8. Supratistha (Seat) 1. Svastika:
There are plenty of seals24 excavated from Indus valley (fig. 65). The depiction of svastika is available on many Ayāgapattaş. One of the Āyāgapattas (fig. 107) comprises a svastika as a main theme having three jewels in a centre with lotus petals. It is considered sacred in India and other countries like Turkey, Germany, China, Japan too. The word is derived from the root ‘su' means good, while ‘asti' stands for existence, thus it denotes good existence or existence for prosperity. Many of mantras in Vedas hold the word svasti.25 This symbol is drawn with saffron on the opening page of account books, ceremonies associated with marriage as well as janoi etc. Besides, it is the lāñchana of the seventh Tīrthankara Supārsvanātha. A practice to prepare a svastika and a symbol of three jewels with a crescent using raw rice is still prevailing in Jaina shrines. It represents four states of Jiva i.e. hell, plants and animal life, human and celestial beings while the three jewels and a crescent is a symbolic representation of liberation. Here only rice grains are used, as it doesn't grow again on sowing, similarly devotees want no birth cycle.
23 अष्टगुणितानि अष्ट वा मंगलानि। स्वनामख्यातेषु श्रीवत्सादिषु तस्स णं असोगवरपायवस्स
उवरिं बहवे अट्ठमंगलगा पण्णत्ता। तं जहा- सोवत्थियं, वत्था, णंदियावत्त, वध्दमाणग, भद्दासण, कलस, मच्छ, दप्पण। तत्र अष्टावष्टाविति वीप्साकरणात् प्रत्येकं तेषडष्टाविति वृध्दाः। अन्ये त्वष्टाविति संख्या अष्ट मंगलानीति च संज्ञा।
- Rajendra kośa, Part-1, pp. 249. 24 Marshall, Sir John, Mohen-Jo-Daro and Indus Valley Civilisation, (London, 1931) V - 3,
pl. no. 500 to 515. 25 Taft 7 gost qazstai: Taft 7:49 faqact: स्वस्ति नस्तार्यो अरिष्टनेमिः स्वस्ति नो बृहस्पतिर्दधातु।।
- Rgveda, 1.89.6

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2. Śrīvatsa:
The word śrīvatsa is a fusion of śrī and vatsa where śrī stands for Lakşmī and vatsa for child or calf. Hence śrīvatsa could be described as one who is blessed by Laksmī and a child (Sign of prosperity). In short Arhat, Siddha, Buddha, Vishnu, Śrīkrsna, Śrīrama are carved with śrīvatsa mark on chest. Jaina image has a characteristic of carving śrīvatsa mark on chest symbolising a Mahāpurusa. The same symbol is carved on Buddha's feet as his chest is usually covered with pleated cloth. Its representation is available on ancient coins, stone chatras/parasols, Ayāgapata, arched gateways of Mathurā's stūpa as well as Udaygiri - Khaņdagiri caves, etc. The famous inscription of Khārvela commences with this symbol and below this motif svastika is also carved. At the end of the inscription a crude form of banner is noticed. In Yuddhakānda of Rāmāyana, Śrīrāma is considered as an incarnation of Vișnu and called 'Śrīvatsavakṣaḥ 26. A śrīvatsa mark is available on the chest of Tīrthankaras since pre Kuşāna period. Afterwards a trend of carving ornamental śrīvatsa on Jina images came into existence. The various ancient forms of śrīvatsa areI. A pair of tri-ratnas joined with their middle projection. II. A fish flanked by two serpents with raised hoods. Most of the śrīvatsa contain round ring in the lower most part, may be the sign of round vessel filled with water as fish is the main character in this symbol. Such symbols are obtained from Indus valley too27. The early Indian coins also contains this mark as it is associated with wealth. The punch marked coins from Candraketu-garh in Bengal bear this symbol assigned from 6th to 3rd century B.C. The Aupapātika-sūtra, referers śrīvatsa as a Vatsa laksana of Bhagavāna Mahāvīra - Siri vacchakiyaṁ vacche. In Abhidhāna Cintāmani, Hemcandra calls the symbol on the chest of Vişņu as śrīvatsa28.
26 ) stariat firsity: anya:1
मानुषं रूपमास्थाय विष्णुः सत्यपराक्रमः।। II) foficerifchej a pro 27 M & John, Indus Valley..., Vo. 3, pl. 28 for you ani aasta sjakt: hradfasta:
स तु वक्षस्य शुक्लवर्णदक्षिणावर्त लोमावली।
- Yuddha-kanda, 111-13.
- Aupaatika-sutra-16.
- Hemchandra, Abhidhan Cintamani, 2-136
हलायुधकोश

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3. Nandyāvartaḥ:
This auspicious symbol has some more detail than svastika. It is a combination of two words Nandi and Āvarta. This is the lāñchana of eighteenth Tīrthankara Aranātha. Dr. Pandey H. defined nandyāvarta29 asNandi Janako Āvarto Yatraḥ/
Its nine hands symbolise for nine types of prosperity (Navanidhi). 4. Vardhamānaka :
It is a container having sandalwood (candana) powder to sprinkle on the head of disciple or devotee by Acāryas as a mark of blessings and prosperity. As per ‘Amara kośa' it is 'Sarāva', and a box having this material called 'sarāva - samputa’. The practice of sprinkling candana powder from vardhamānaka is still used by Ācāryas in Svetāmbara tradition. The carving of such vardhamanaka is seen on
many Āyāgapațas with other symbols. 5. Bhadrāsana:
It is a sacred seat specially made for royal personality from where he cares for the welfare of people as per Jaina and other canons. (Bhadrāya lokahitāya āsanam Bhadrāsanam) It is defined in Amarakośa as the seat, where the emperor is sitting i.e. 'Nrpāsanaṁ yattad bhadrāsanaṁ siṁhāsanaṁ tat.' Śri Hemcandrācārya also explains the same as the place where
emperor is sitting- 'Bhadrāsanaṁ Nrpāsanam'30. 6. A Pitcher or Pūrņa Kumbha:
This symbol denotes the fullness of life and immorality of soul. It has a capacity to conceive good fortune in its innermost part known as Garbha. It is considered auspicious in all religious and social ceremonies because of its sacredness. On the occasion of Samudra-manthana, Dhanvantari holds the Amrta kalaśa.
In Lalitavistara, a Pūrna kumbha is considered as an auspicious symbol.
29 Pandey, Jain Vārmaya...., pp. 18. 30 Hemcandrācārya, Abhidhāna-Cintamani, 3.380.

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Bhagavatī-sūtra refers the establishment of many Kalasas of gold, silver and mixed metals, when Jamali, the son in law of Mahāvīra, sits on throne. Many sculptures from Mathurā have depiction of Kalaśas either separately or as one of the mangalas on Ayāgapatas. It is also seen holding by Jaina monk with right hand on the right
side of Sarasvatī image of Kușāņa period (fig. 32). 7. Darpaņa (Mirror):
Darpaņa too is considered auspicious in aștmangala. The unidentified mangala on Ayāgapața of Sihanādika may be displaying the folded darpaņa. In every Jaina temple mirror is kept to see the reflection of a Jina image as a kind of ritual and Mangala. The synonyms of darpaņa are mukuta, ādarśa, ātmadarśa etc. The root of darpana is a 'Darpa Sandīpane', with termination / pratyaya
‘ņica' forming the word darpaņa. 8. A pair of fish:
A pair or single fish is considered very auspicious not only in ndia but in many parts of south Asia. A pair of fish is the sign of fertility and abundance. In Sanskrit it is called 'Matsya' for single and 'Matsya-yugma' for a pair. The root ‘mad' with termination ‘sya' form the word 'Matsya’. While 'Yugma' stands for couple forming a pair of fish. The ideology of fish might have inspired recluses as the symbol of creation and aesthetics. The dreams of Tīrthankara's mother include a pond having fishes might signify the carrying of Jina in a womb of mother. The earliest depiction of a pair of fish is available on the punch marked silver coins of 6th to 5th century B.C. on the obverse side.31 One hoard of Sunga period obtained from Kaušāmbī has a sword having a handle of a fish in the shape of a flag within a railing. The ancient śrīvatsa symbol has a fish in a centre surrounded by two snakes is available from Mathurā. Here a fish is a symbolic carving for Lakşmī. A fragment of an Āyāgapața with Bhadrāsana (divine seat) has a carving of a fish under its arms reflecting its reverence nature. Here at Mathurā, most of the pairs of fish are seen with their faces turned on each other side having a floral sting in their mouth (fig. 110, 111). Some inscribed copper coins assigned to late 1st century B.C. of Satavahana dynasty obtained
31 Srivatsava A. L. Bhartiya Kalā pratika, (Ilahabad, Umesh Prakashana, 1999),
pp. 116-117.

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from Candravalli in Mysore district have such depiction. They had carving of six small raised heaps in an arch with crescent, svastika as well as śrīvatsa and such pairs of fish below the heaps. The above objects are auspicious as they provide subha/Mangala/all well to its owners and viewers.
3.8 Jaina Shrines of Earlier Period:
According to Acaranga-sūtra32, Mahāvīra was attended upon by the four orders of deities Bhavanapati, Vanavyantara, Jyotiṣika and Vaimānika where he was meditating. Indra worshipped him after he erected a pavilion, where Mahāvīra is seated on a throne.
Jaina tradition have references of Siddhāyatanas, Yakṣāyatanas and Arhatayanas in their literature. Detailed description of eternal shrines (Siddhayātanas) or śasvata-caityas situated in various heavens and on several mountain peaks is referred to in many scriptures. Nandiśvaradvīpa has fifty-two Siddhāyatanas. This may be one of the reasons that many Jaina shrines are established with fifty one small shrines and a main at centre, known as bāvanajinālaya. Likewise the still larger shrine having seventy-one small shrines and a main larger is known as bomterajinālaya. Here 24 Tirthankaras of past, present and future are adored.
3.9 Iconography of Jaina images:
The word icon stands for an image, while graph for writing or describing; thus iconography is a description of an image with an elucidation of pedestal and nimbus or prabhāmaṇḍala or aura. It is influenced by period, place, artist, donor, geographical condition, availability of material, finance and the patronage. Therefore Jina images vary from Kṣatrapa to medieval period, and in various art schools of different regions. The life incidents of Jinas and deities also play important role in image carving.
It is rather difficult to study iconography of Jaina images as both Jainism and Buddhism have many common features in carving. The main difference between Buddha and a Jina image is that a former does not bear any religious mark on chest as it is covered with upper linen, while the latter is invariably given the mark of śrīvatsa since Kuṣāṇa period.
India is a vast country having different schools of art developed in various states patronised by local kings. The Sicri dotted red stone is
32 Acaranga-sutra, 15th Adhyayana, sutra -753.

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available near Mathurā so many of the sculptures were engraved from the same. During foreign invasions plenty of images, temples, assembly halls, etc. were damaged. After the invasion and restoration of peace, broken structure or sometime whole shrine is renovated. A system of immersing mutilated images into rivers or burying them under the foundations of new shrines causes problems in knowing the evolution of images. Very often mutilated śikharas, pillars, images etc. are found from the plinth of garbhagraha and rangamandapa while renovating the entire shrine. Earlier due to fear of invaders, Jaina Sangha used to hide them in haste either at the same place or carried them to safer place. At Akotā, Valabhī, Mahudī and Lilavādeva each, a hoard of images were found. Moreover Jainas do not handle carefully the historical valued objects during renovation. Therefore it is difficult to judge their development process of images and shrines. Jina images are depicted only in two forms - i) Sitting in padmāsana or in ardhapadmāsana keeping both palms on
one another, sometimes touching the naval. ii) Standing in khadagāsana (Kāyotsarga) mudra. These both meditation postures suggest severe austerity. The image of Rsabha (fig. 66) with locks touching the shoulder is available from Kusāna era onwards, even Pārsvanātha is depicted with canopy of Dharanendra (fig. 67, 68, 78, 84) and Neminatha with company of Krsna and Balarama (fig. 69) through sometimes with adoring ganadharas on pedestal (fig. 126). The carving of such image of Neminatha is a special product of Mathurā school that continued up to late Gupta era, though one such image of medieval period is also found from Dempier Nagar, Mathurā.33 The concept of 24 Tīrthankaras or Jinas is accepted in Jainism. Jina images are available in three forms - i) A single image. ii) More than one image on a stele iii) four images carved on four sides each of a stele known as sarvatobhadra. i) The single Jina image depicted on a stone or wood or metal either
in Khadagāsana or padmāsana. ii) A stele comprising carvings of two Jinas is called dvitīrthi (fig.
70), while with three Jinas known as tritīrthi (fig. 71, 134). The
33 Catalogue of Mathurā Museum, 2003, pp. 142 (Accn. no. 2000.42).

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oldest tritīrthi is of Jina Rşabhanātha (pre Gupta period) seated on a cushion placed on lion throne. On the pedestal, two figures are in
Padmāsana flanking the wheel may be two Jinas34 or Ganadharas. (A detail of sarvatobhadra image is given at the end of next paragraph). A stele with the depiction of five Jinas is pañcatīrthi (fig. 135). This type of image has one central figure with two Jinas in sitting posture at shoulder level while two in standing position next to the chief idol. The iconography of the same wasn't fixed in Gupta period as one available pañcatīrthi has four Jinas in a row at the top of the main figure. Here mūlanāyaka is flanked by a pair of Cavaradhāri, elephant mounted as Indra and garland holders (fig. 81, 44.3150 MM). A stele accommodates 24 Jinas including main large figure is called caturvinsati or covīsī. Sometimes main central figure (mūlnāyaka) is surrounded by eleven or thirteen other Jinas, then it is known dvādaśaJinas or caturdaśa-Jinas respectively. The individual carving of 24 Jinas on a stele was not in vogue in Kuşāņa period, though one Covīsī image having Rşabha as a chief idol is obtained from the site Kankālī Tīlā seems to be of 3rd century A.D. (fig. 11), as it is with combed hair. Here Nemi and Pārsva Jinas could be easily recognised by their special form-while Mahāvīra, Munisuvrata, Šānti and Sambhava Jinas could be known by their names in the inscriptions. Total number of Tīrthankara figures available from Mathura are 119 where 93 are in padmāsana while about 26 standing kayotsarga figures are without linen and open eyes. Thus here both consecration of Svetāmbara and Digambara iconography are seen on images.
3.10 The concept of Sarvatobhadra images :
A stele with four Jinas in four directions is called sarvatobhadra image. In Rajendrakośa it is defined as, “Sarvatobhadrāni mukhāni yasya”. The word sarvatobhadra stands for auspicious happening in every directions where sarva stands for all and bhadra provides subha/mangala/auspiciousness everywhere. There are 28 sarvatobhadra images obtained from Kankalī Tīlā of Kuşāņa period ranging between saka year 5 to 74, carved in Khadagāsana.
34 B. 7 MM. Catelogue of Mathurā Museum, pl. 24,

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The concept of sarvatobhadra or caturmukha pratimā is based on the Jina when delivering the sermons, sitting in Samavasaraņa erected by Indras. The structure of samavasaraṇa is mostly circular but sometimes square too with three tiers one above other narrowing from bottom to top. It is also called Gandhakuți (fig. 133). Here Jina sits on a dais in centre pavilion, where Indra installs his three similar images in other three directions, so devotees could listen to him. This concept having the same Jina in four directions is very often not seen on samavasaraṇa. The standing fourfold images obtained from the site might have different notion. like, • To spread auspiciousness in all directions as they were established
on pillars. Some of them do not have Pārsvanātha, in such cases it is difficult to recognise fourth Jinas. According to Amalananda Ghosh35 this may be based on the concept of yakșa caitya under the tree. Śāsvata Jinas always occur in each Utsarpiņi and Avasarpiņi time cycle and have common names i.e. Rşabha, Candrānana, Vārisena and Vardhamāna36. It is possible that some of the sarvatobhadra images may have been above mentioned group of Śāsvata Jinas as
here Pārsvanātha is not seen on some of the images. The Adipurāna of Jinasena describes the Mānastambha at the entrance of the samavasaraṇa which includes the four images of gold at the base. According to Tiloya-paņņatti, Jina images were placed on the top of the pillar. A pillar (Saila stambha) from Kahaum has four Jinas on four sides at the top and one at its base has the inscription of year 141 A.D. of Gupta period. Most of the shrines in Southern India have Mānstambhas. At Deogarh and Chitor beautiful Mānstambas are seen with four Tīrthankara images on top. This practice is still popular amongst the Digambaras. The distinctive features of Caumukha images from kankāli-Tilā : I) Inscriptions on the pedestal commence from the side of Pārsva
(fig. 72), so one can assume that this was the front position (J.230, J232, LM). Here Pārsva is carved with a canopy while others are with halo (fig. 97, 98).
35 Ed. Ghosh Amalanand, Jain Art and Architecture, (New Delhi, Bhartiya Gnanpith, 1975). 36 Jivābhigama-sūtra, 137, pp 235; Sthānanga-sūtra, 4, sūtra 307; Pravacana-sāroddhāra,
491, pp 117,

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II) The pedestal on each side varies - sometimes with five tires where
devotees are at corners with folded hands (fig.73) ; on many images, adorants are seen wearing long coats and flanked the central wheel
(B. 69, B. 70, B. 71 MM; J. 231 LM, J. 234 LM, fig. 74). III) All the images do not bear śrīvatsa mark on chest (J 243, J 237 LM).
Their sizes are ranging between 1 foot 10 inches and 3 feet 3 inches. Many images have mortise at the centre top to receive umbrella staff/chatrayașți (J 233 and J 684 LM) and tenon below
the images. IV)One of the images holds a projection at bottom (fig. 75), having an
inscription indicating that the same was installed on a pillar. The details of the above stated sarvatobhadra images
Sr.
Accn no.
Height
Yr. of est. Saka
Description
no.
Luders nos. 20
11
B 71 MM
1' 10"
2
MM B 70
1' 10.5"
35
3
MM B 69
1' 11"
107h
Three are with halo and Pārśva with broken snakehood. Devotees are sitting on corners. Square mortice at the top. It is inscribed. A square mortice at the top, three are with halo while one is Pārsva with nāga chatra. All has śrīvatsa, A pair of devotees are sitting on both corners facing both ways. Three sides have running inscription Three have haloes, Pārśva with nāga chatra, Rsabha with locks on shoulders, all have śrīvatsa, a round mortise at the top, devotees are at corners on pedestals, inscribed Pārsva is with chatra and Rşabha with locks, all have srivatsa, a square mortice at the top and a tenon at bottom. Each side of pedestal has devotional scene. Three have haloes and Pārsva has chatra, all comprise with śrīvatsa, a square mortice at top. It is inscribed, but defaced.
MM B672' 10"
5
MM B 68
3' 3"
107g

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6
7
MM B 72
BB 73.
8
MM 12.276
9 MM 15.560
10 MM 45.3209
11 MM 3214
12
MM J 684
The Jaina Stupa at Mathura: Art & Icons
1' 3"
1'
Each comprises śrivatsa, three have haloes, Pārśva has a chatra, found at the cross road Maholi where it was worshipped as Vīrabhadra. Original place might be kańkālīTīlā.
Carving is defaced, Pārśva and Rṣabha are noticeable.
Parsva and Rṣabha
One sarvatobhadra image in padmāsana of Gupta period has Kubera and Ambika on pedestal (fig.96). The bas-relief of caumukha image includes different patterns like Kuśa grass, five tiers, devotees at corners or flanking the wheel etc. One inscribed Svetambara image is of medieval period (fig. 76-A,B,C,D).
Many Jaina shrines have caturmukha concept having four doors in four directions either at ground level or at top with a space for pradakṣinā. Rāṇakpur in Rajastan is best example of a caumukha shrine, where sarvatobhadra Rṣabhadeva is mūlanāyaka.
We have early references of caitya pillar at Paharpura temple in Bengal. Though it is disclosed as a Hindu relief, it was a Jaina shrine as per the obtained copper plate dated 478 A.D. referring to a donation by Brāhmaṇa couple following the Jaina 'Pañca-stūpanikaya' faith.
Deogarh and Gwalior also have beautiful shrines of early Gupta period, while at Delavādā-Ābu, caturmukha temple of Kharatara vasahi is of medieval period.
3.11 Concept of 24 Tīrthankaras:
Concept of 24 Tīrthnkaras covering a span of billions of years, mentioned in Jain scriptures, is not accepted by historians and archaeologists in the absence of definite clue, proof and inscription. However out of twenty four Tīrthankaras of present era, last three - Ariṣṭanemi, Pārśvanatha, Mahāvīira and first Rṣabhadeva, are recognised by them. Moreover one inscribed pedestal of an image from kankālī-Tīlā

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denotes the word 'Munisuvrata', earlier deciphered as nandyāvarta also indicates the presence of 20th Tīrthankara. Besides, images with the name Sambhava (EI. Vol. X, no.5. fig. 1, Saka year - 48), Sānti (L.L. 27) and a covīsī of Rsabhadeva37 also strengthens the covīsī concept from earlier period. The covīsī image with mülnāyaka Rsabha has a simple nimbus surrounded by other 23 Jinas (Here all are seated in padmāsana) where mūlnāyaka is seated under a caitya tree on a cushion (fig. 11). His hair is combed, two of the locks on shoulders as identity of Rsabhanatha. The pedestal comprises lions at corners having a vertical wheel at centre with a ribbon passed through. The inscription is faint and only the word “Pratimā" is readable. It is discovered in 1889-90 and suggested to be of c. 5th century A.D. by V. Smith. However it seems to be of little early period from the cushion seat and vertical wheel. The images of 24 Tīrthankaras with their associated deities in Khandagiri cave is assigned to early medieval period. The Tīrthankara after getting Kevaljñāna, preaches to all mankind sitting in samavasarana, is called Arhat, therefore he is shown with cavaradhāris, aşta-mahāprātihārya, dharmacakra, caturvidha sangha and yakşa-yaksi. After nirvāņa, he becomes Siddha. Siddha is without body i.e. aśarīrī, reached to Siddha sthāna or Siddhasilā where there is infinite bliss and no rebirth. They are Kevaljñāni Jivas. Siddha is displayed without any yaksa-yaksi and cavaradhāri. Their colour is red while Arhat is white. Thus Arihanta image is worshipped like a king having all attributes while Siddha is adored without any prātihāryas, but only with emitting sunrays or lotus buds in nimbus. In Jaina shrines both type of images are adored by devotees. The images from kankālī-Tīlā range from 2nd century B.C. to 11th century A.D. The epigraphic records reveal that they were installed at - 1. Arhatāyana - A shrine of Arhats. 2. Ranga mandapa - The hall adjacent to garbhagrha where images of
jinas and deities are established. The same word is still in used for the adjacent structure to main garbha grha. The Sarasvati image. J 24 LM. was setup in rangamandapa according to its inscription.
37 I) Accn. no. LM J. 57.
II) Smith, Jain stūpa.., pp. 52, Pl no. XCIV.

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3. Words like 'Deva nirmita Vodva stūpa' and 'Deva nirmita' are
available on one and three images respectively. 4. Āyāgasabhā the sacred assembly hall - Here Āyāga stands for sacred
and sabhā for sangha or assembly hall. 5. Caitya pillar where quadruple image was established on the top.
3.12 The iconography and evolution of images of Kuşāņa, Gupta and
medieval period with their distinctive features: The collected large quantity of material from kankāli-Tilā, Mathurā is placed at Government museum Mathurā, State museum Lucknow, National museum Calcutta/Delhi, Albert museum London and at many other places in India and abroad. The Images of Kuşāņa Period (78 A.D. to 176 A.D.): The Saka era commences from 78 A.D. or little early as per historians. Here discovered specimens are of 2nd century B.C. to 11 century A.D. They represent the Mathurā school of art, the Gandhāra style and the regional artistic influence. The art of Mathurā school illustrates the development and evolution of iconography in Jainism. The Kuşāna kings were with secular outlook therefore Jaina art and religion flourished in their kingdom. Mathurā was a chief international business centre so the traders utilised their extra fund to construct shrines for welfare of people. Here every community had donated images and other sculptures for adoration. Images carved during Kuşāņa period were without any support at the back. They were carved with stretched hands in padmāsana (fig. 52, 55) and long hands up to knees in Khadagāsana (fig. 72, 73). On the pedestals, inscriptions of donors are available with full family and occupation details as well as the inspired recluse's name. Immediately below the inscription the caturvidha sangha is carved with the dharmacakra at a centre as seen on most of the images (fig. 69, 72, 88). After few centuries making of such images without any back support and stretched hands discontinued as they were easy to break and instead, images, with less stretched hands were carved along with back supports also came into existence. Shoulders were carved very heavy with broad chest (fig. 69, 85) while śrīvatsa marks on the chest of Jinas varies in shape, over a period of time; even some images of them are without such a mark. The depiction

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of aştaprātihārya around the Jina was yet to start, but the depiction of cavaradhāri, yakşa-yakşi and devottes can be noticed (fig. 66, 99). The images of Kuşāņa period were depicted with dwarfish look, broad chest, heavy and broad shoulders and with open eyes. The portion from waist to legs was slim in comparison to shoulders in both asanas. During this period, many Jina images were carved with thin raised Uşnīşa on head or without Uşnişa while Buddha images of this period are invariably with Uşnişa. On the whole images of this period give an unsymmetrical look in comparison of later period. The Images of Gupta period (430 A. D. to c. 600 A.D.) Jaina icons carved during Gupta period were well shaped and equilateral. The system of carving well shaped images has been developed in this period including showing the eyes in meditation. Here the shape of the eyes changed from round and almond shape to half open like lotus bud and looking inward. The facial expression has given a cool and calm look as suggestive of Supreme Knowledge. The images were designed slim and youthful following mahāpurușa lakṣaṇas. The simple nimbus showing only a border changed to full blown lotus and emitting rays (fig. 81). Moreover the depiction of caturvidha sangha on pedestal continued upto one or two centuries more, showing the importance of sangha who also considered 25th Tīrthankara in Jaina pantheon (fig. 66). Here the vertical wheel is replaced by parallel wheel. The manifestation of innocent smile on the face and body of the Jina changes to serenity with the passage of time. Agrawal V. S. comments regarding their expression“The harmonious blend of physical beauty with spiritual grace in the images was an outstanding contribution of the Mathurā artists during Gupta period. The aureole carved with a number of concentric bands and the tastefully carved halo showing radiation of knowledge from the Tīrthankaras in all directions. This is the aesthetic representation of samavasaraņa/preaching to all38”. During this time the yaksa - yakşi as śāsana devatā and lāñchanas of Jinas (fig. 81, 116, 117) are included. According to Jaina philosophy God has not created the world as it is eternal. Arhat and Siddhas cannot directly help or favour worshippers in their problems, still Jaina laymen adore them by installing lacs of images and erecting excellent shrines to
38 Agrawal V. S. preface, in 'History of Jainism with sp. ref. to Mathurā 'by Sharma V. K.

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reach the final goal of Moksa like them. Thus Jainas worshipped them as liberated souls to inculcate and develop their qualities in one's own self. Thus images created during Gupta period were artistic, in equal proportion and with the characteristics of mahāpuruşa having așta-prātihāryas and cavaradhāris, they are without inscriptions, except few. As observed by Sharma R. C. in the Gupta age there is a death of epigraphic record on the Jan images. He also commented that only two inscribed Jaina images found in India one is J. 36 LM and other being at Udayagiri in Madhya-Pradesha installed a Pārsvanātha image39 in the year 426 A.D. According to Varāhamihira, the Jina images depicted with long hands, śrīvatsa mark, peaceful appearance on face and youthful body with nudity.40 The Images of Medieval period : The Jaina tradition speaks of the supernatural thirty-four qualities (34 atisayas) of every Jina which includes aștamahā-prātihāryas - i) Asoka tree, ii) Shower of celestial flowers, iii) Divine music iv) Fly-whisks v) Lion throne vi) Nimbus vii) Celestial drum beating (Deva-dundubhi) and viii) Triple umbrella41 as referred to early literature. The early medieval period 7th to 9th century A.D. is the transitional period from classical Gupta to diverse forms in iconographic details as well as vivid ornamentation seen in almost whole of India. In eastern India due to planetary influence on human beings nine (or eight if considers Rāhu and Ketu as one) planets became popular on door jams of the shrines. Jainas too included planets on the pedestal of Jinas as the devottees. During this period carving of other Tīrthankaras rather than mūlanāyaka, in parikara also became popular. In case of a single Jina a parikar has cavardhāris and garland holders flanking the mūlanāyaka (fig. 99) but if two Jinas sitting in padmāsana flanked the chief idol than the whole sculpture is called tri-tīrthī. Here besides mūlanāyaka image, the other two were depicted below the toraṇa upto the face level. In case of standing image, mūlanāyaka has two garland holders up to face level on his both sides and below them two Jinas are in standing posture. In
39 The Classical Age, pp 409. 40 Brihitsamhitā Adhyāya, 58 41 I) Samavāyānga-sūtra, no. 34, pp-569, Mahāpurāņa (Puspadanta), Abhidhāna cintāmaņi -
Hemcandra, 57 to 64., Tiloya pannatti, pp 896-915, II) Chanchreek K. Jain Mahesh, Jain Art and Archi. pp-72.

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pañcatīrthi image, a parikara has two Jinas in padmāsana and two are in khadagāsana in addition to mūlanāyaka. Thus a sculpture is called pañcatīrthi with the help of parikara. The lāñchana of the image goes with mūlanāyaka. The pedestal is the seat of Jina, carved below the cushion comprises with a yakşa-yakși pair of mūlanāyaka on extreme corners, a lion and an elephant on either side of centre's Prāsadā devi. At the centre below the Prāsadādevi, a dharmacakra is shown flanked by a pair of deer. Out of nine planets five are carved to the left and four are to the right at the bottom of the pedestal.
3.13 The eyes, hair arrangement, Uşnişa, facial expression and Nimbus
of Jinas: We have seen the conspicuous features of Jina images of different period. The identification of them is carried out by their appearance like nimbus, curls, stretched hands, urņā, eyes and aştaprātihārya on the parikara, etc. The details are as followsThe images of Kuşāņa period have either full open eyes (fig. 43, 56) or half open with smile on face (fig. 52, 54). The shape of the eyes is like an almond or a lotus (fig. 77, 78), the eyeballs in open eyes could be visible on some of the images (fig. 80). Here the eyebrows are in a line. The hair arrangement: The head of Tīrthankara image is either plain (fig. 77) or has different types of curls or combed hair. Some of the images of Jinas before Gupta era are available with neatly combed hair (fig. 62). The hair curls of sometimes turned towards left or right (fig. 93) is noticed. Many of the hair curls of Jina images of Kuşāņa period are in parallel crescent (fig. 79, 82). The Uşņișa: In Kuşāņa period, the uşnişa on head of Jina was not seen (fig. 1, 44), but sometimes slightly raised uşnişa is also noticed (fig. 60, 80). The Jina images on Ayāgapațas of early Kuşāņa period are with uşnişa (fig. 105, 106). Facial expression to provide Jina in various mode (bhāva) like Karunā (compession) and śānta rasa are almost not visible on face before Gupta era. During this time, true character of Jinas who have renounced the world and gained spiritual power does not properly appear on the face, instead an innocent smile (fig. 51) was provided to give pretty look.

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Nimbus: Jina images of Kuşāna period are available with or without back support, containing simple prabhāmandala/nimbus/halo. The available variety is scalloped border (fig. 52) or full blown lotus (fig. 81) or emerging rays (fig. 83), from the back of head. It is not considered as an essential part of an image. The earliest carving on the halo is simple or scalloped boarder also called hastinakha (B. 63, B. 69, B. 70, B. 71 MM. and J. 230, J. 239, J. 244. J. 245 LM.). The next comes scalloped border
with bead strings and/or emerging sunrays (fig. 115, 136). 3.14 The carving of auspicious symbols on palms, toes of Jinas and
snakehood of Parsvanatha: Many of the images of Kuşāņa period are chiselled with auspicious symbols on their fingertips, palm's and toes (J. 4 LM., J. 19 LM., J. 17 LM.). The images nos. J. 19, J. 4, J. 29. LM have a wheel and a three jewels symbols on their toes. A svastika is embossed on a thumb of Jina (J. 19 LM.). In some cases a wrist is carved with maņibandha looking like a triangle (J. 6, J. 70 and J. 17 LM.). The snake hood of Pārsvanātha also, often seen with such carving. A Pārsvanātha image of 2nd century A.D. (fig. 84, B. 62 MM,) has svastika, vardhamānaka, śrīvatsa, pitcher, a pair of fish and three jewels depicted on his canopy.
3.15 Lions on pedestal:
The seats on which Tīrthankaras are resting vary from Kuşāņa to Gupta and to medieval period. The artists of Mathurā school have projected lions on corners of the pedestal in many varieties when Jina is sitting in Padmāsana - front and side view, sometimes with a svastika on face while in some cases turning their neck in a variety of manner. The caturvidha sangh on either side of dharmacakra continued up to late Gupta period. Later on they were carved according to texts like the Mānasara, etc. The adorant figures in sitting posture on pedestal flanking the wheel are always depicted in caitya-vandan mudrā (fig.85). Many Kuşāna sculptures are available in round carving of Mathurā school. Jina images were also not exceptional in such carving (5.7 LM.). Some of them are available with the carving of caiya-vřksa on back of the images (J. 81, J. 117, J. 120 LM.). Even the Āyāgapatas contain inscriptions at back with grapes border like Hellanic art. In Gupta period the seat

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of Jina images in padmāsana were covered with a sort of carpet with beautiful ornamentation (fig. 81). A part of cushion hanging from the seat in various style which is decorated marvellously by artists (B. 75, B. 77, B. 37.2738 MM.).
3.16 Cognizance/Lāñchana:
The depiction of lañchanas was not a customary in early Jina images. The practice of carving lañchana on Jina images was not known in Kuṣāṇa period. Here Pārśvanatha image is shown with canopy, Aristanemi with Kṛṣna and Balarama, Ṛṣabhadeva with locks of hair and Vardhamāna either with his name in inscription or to be understood if the image is sarvatobhadra. In few cases Vardhamana is flanked by Indras too, (recognised by his crown) as his devotees with folded hands (fig. 82). With the downfall of Kuṣāṇa Empire and advent of Gupta rule, the art conventions in India changed throughout the country leaving unwanted foreign elements in carving so iconography of Jina and Buddha images were given definite formula and accordingly they were carved. To recognize 24 Jinas in icons their cognizance were fixed according to their lives incidences and śrīvatsa mark.
101
3.17 The round carving of Tīrthankaras - The Mathura Style:
The distinct features of Mathura school is well displayed in round carving of headless standing Jina image J. 7, now housed in Lucknow Museum. It is standing on a lotus. On the back, a beautiful caitya-vṛkṣa is depicted. Here a deity is standing with a child and an unidentified object. Towards the right of Jina an ascetic is standing while to his left a lady acetic is standing, both are carrying rajoharanas. The fourth side of Jina has a depiction of pillar (fig. 2, 3, 4).
The beautiful standing image of Neminatha, J. 121 LM. (fig. 45). As per Museum's record this image is assigned to Gupta period. The standing Jina has curly hair, elongated ear lobes, śrīvatsa mark on chest and a dwarfish look. Here the halo has full blown lotus, the symbol of divinity surrounded by two Gandharvas holding garlands. Their hair arrangement shows typical Gupta feature as noticed by R. C. Sharma. On the right of the Jina is a deity with five headed serpent hood touches the hood with right hand while holds an object like cup with left recognised as Balarama. Kṛṣṇa is standing towards the left of a Jina recognised by carrying a conch with right hand. A

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male and a female disciples are standing near the feet of standing Jina might be his fiancée Rajimati and younger brother Rahanemi. He was asked to perform austerity as a part of his repentance by Neminātha according to Kalpasūtra. Two devotees are adoring the Jina in kneeling mudrā. In the centre of the pedestal is a wheel flanked by Jinas (or Ganadharas) and lions. It is difficult to know that the two sitting personalities are Ganadharas or Jinas. If we consider them as Jinas because of seated lions, then the image could be called tritīrthī.
3.18 The Gradual Development of Belongings of Ascetics as observed -
A) in Scriptures and B) on Pedestals of Jinas: The pedestal of Jina images from Kankālī Tīlā reveal the evolution in belongings of male and female ascetics. It comprises with two lions on the corner forming sinhāsana for Arhat. Jaina images from Kuşāņa to pre-gupta period (78 A.D. - 300 A.D.) have depiction of caturvidha sangha/four-fold community on their pedestal i.e. sādhu, sādhavi, śrāvaka and śrāvika. It has given very high status as it is considered 25th Tīrthankara. Even the Ācāryas never violate its decision42. These bas-reliefs are the supporting evidences to the literary sources portraying the culture and the clothing of that period. Usually in Kuşāņa period the pedestal of Jina image was chiselled with dharmacakra in the centre with equal distribution of sādhus and śrāvakas on right while sādhvis and śrāvikas on left side. The ascetics on bas relief are shown carrying pratilekhanas (object to clean) in the right hand with span open to bless, with left hand they hold the blankets in such a way that their privacy of the body is covered. śrāvakas are standing with folded hands next to them (fig.1). To the left of dharmacakra sādhvis are shown carrying pratilekhana with right hand with open span to bless same as Sadhus, while holding a sanghāti with left. It is believed that Lord Mahāvīra renounced the world with a piece of cloth on his body known as Devadūşya gifted by Indra. The belongings of ascetics developed gradually with the influence of place, time and society.
42 Bhadrabahusvami-II was asked by Jaina Sangha to compose a mantra to overpower the
epidemic in Magadha while he was in Nepal.

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A) The Belongings of ascetics as described in scriptures : The first Śrutskandha of Ācārānga-sūtra, refers only five belongings for Niganthas/ascetics - i. Vastra (cloth) ii. Pātra (bowl) iii. Kambala (blanket) iv. Pātraproñchana and v. Kațāsana (a piece of woollen cloth used for sitting while meditating)43. It classifies four types of niganthas/śramaņas as per their linenAchela - without clothes44, Eka-sātaka - wearing one piece of cloth45, Santarottara-wearing two or three linen46. He is advised to give up all linen, step by step and practiced nudity47. The sūtra further remarked that young physically fit sādhu should keep only one cloth 48. For women ascetics the dress code mentions that she should keep four sanghātis/linen of different sizes viz, • one sanghati having two hands wide, (one hand is nearly about one yard) • Two sanghațis of three hands, • One sanghati of four hands, Thus four sanghați are referred to sādhvis49. With regards to increase in articles nothing is pointed out in sūtra, except the rules for accepting them. In relation to belongings, Uttarādhyayana-sūtra narrates to use three belongings by ascetics - (a piece to wipe the face, a piece to use to
43 वत्थं पडिग्गहं कंबलं पायपुंछणं उग्गहं च कडासणं। एतेसु चेव जाएज्जा।
आयारो (आचारांग) १/२/५/११२ and ibid, 1/8/1/1. 44 अह पुण एवं जाणेज्जा-उवाइक्कंते खलु हेमंते, गिम्हे पडिवन्ने, अहा परिजुण्णं वत्थं परिट्ठवेज्जा, अहापरिजुण्णं वत्थं परिट्ठवेत्ता।
- आयारो (आचारांग), १/८/६/९२
1515
45 जे भिक्खू एगेण वत्थेण परिवुसिते पायबिइएण, तस्स णो एवं भवइ-बिइयं वत्थं जाइस्सामि।
- Ibid 1/8/6/85 46. जे भिक्खू दोहिं वत्थेहिं परिसिते पायचइएहिं, तस्स णं णो एवं भवति-तइयं वत्थं जाइस्सामि।
- Ibid 1/8/5/62 47. जे भिक्खू तिहि वत्थेहिं परिसिते पायचउत्थेहिं, तस्स णं णो एवं भवति-चउत्थं वत्थं जाइस्सामि।
___- Ibid १/८/४/४३ 48. जे णिग्गंथे तरूणे जुगवं बलवं अप्पायंके थिरसंघयणे, से एगं वत्थं धारेज्जा, णो बितियं।।
- आयारचूला, ५/१/२ 49 जा णिग्गंथी, सा चत्तारि संघाडिओ धारेज्जा - एगं दुहत्थवित्थारं, दो तिहत्थवित्थाराओ, एगं चउहत्थवित्थारं, तहप्पगारेहि वत्थेही असंविज्जमाणेहिं अह पच्छा एगमेगं संसीवेज्जा।।
- आयारचूला, ५/१/३

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cover inner most parts and a simple linen.) mukhavastrikā, gocchaga/pāyakambala and vastra. 50
50
Dasavaikālika-sutra does not speak in increasing the articles but should be kept to follow non-violence as well as to cover the body.51
The reference to increase in belongings is first available in Cheda-sutras like Brahatkalpa, Vyavahāra and Niśitha but not all fourteen stuff at a time as referred in Oghaniryukti-sūtra for Sthavirakalpi. Vyavahāra sūtra, describes that a senior most ( sthavira ) can keep staff (dand), begging bowl (patra) parasol ( chatra), excretory bowl (mātraka), stick (lāthi), pona-falaka, cloth (vastra), cela-chilamilikā and carma. Out of these articles, a trend of keeping mātraka, danda, pātra, cilamilika is still prevailing in Svetambara tradition. There is no practise of keeping chatra and carma (Umbrella and Skin of Animal) in any Jaina tradition. The chatra was in use in yati tradition till early 19th century.
12 for Oghaniryukti-sutra gives a list of belongings for ascetics ‘Jinakalpi', 14 for 'Sthavirakalpi' and 25 for women ascetics. The 14 belongings52 from this sūtra are as follows
-
-
1. pātra 2. Pātrabandha 3 pātra sthāpana, 4. Patrakesarikā, 5. pātrapatala 6. rajastrāna, 7. gucchaka 8, 9 and 10 (Three pieces) of pracchādaka, 11. rajoharana, 12. mukhavastrikā, 13. mātraka, 14. colapataka.
पडिलेइ पत्ते अवज्झइ पायकंबलं । पडिलेहणाअणाउते पावसमणि त्ति वुच्चई || मूहपोत्तियं पडिलेहित्ता पडिलेहिज्ज गोच्छगं । गोच्छगलइयंगुलिओ वत्थाई पडिलेहए ।।
जे भिक्खू णिग्गंथीणं आगमणपहंसि दंडगं वा लट्ठिय वा रयहरणं वा मुहपोत्तियं वा अण्णयरं वा उवगरणजायं ठवेति, ठवेतं वा सातिज्जति । । 51. जं पि वत्थं व पायं वा कंबलं पायपुछणं ।
तंपि संजमलज्जट्ठा धारंति परिहरंतिय । ।
Besides this reference one more is available in Anga literature - Praśna vyākaranas 3, which was rearranged in 7th century. Dr. Sagarmal Jain has
उत्तरा० १७/९
- उत्तरा० २६ / २३
निशीथ, ४ / २३ दशवैकालिक, ६ / १९
52 पत्तंपत्ताबंधो पायठवणं च पायकेसरिया । पडलाई रयत्ताणं च गुच्छओ पायनिज्जोगो । । तिन्नेव य पच्छागा रयहरणं चेव होइ मुहपत्ती । एसो दुवालसविहो उवही जिणकप्पियाणं तु ।। एए चेव दुवाल मत्तग अइरेग चोलपट्टो य । एसो चउद्दसविहो उवही पुण थेरकप्पम्मि ।।
ओघनिर्युक्ति श्री हर्षपुष्यामृत जैन ग्रन्थमाला, लाखाबावक, १९८९ गाथा - ६६८, ६६९, ६७० 53 जंपि य समणस्स सुविहियस्स तु पडिग्गहधारिस्स भवति मायण- भंडोवहि उवगरणं पडिग्गहो पायबंधणं
पायकेसरिया पायठवणं च पडलाई
तिण्णेव रत्ताणं च गोच्छओ, तिण्णेव य पच्छाका, रओहरण- चोलपट्क मुहणं तकमादीयं ।
पण्हावागरणाई १०/१०

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discussed the belongings of ascetics in his book 54 that the composing period of Niryukti - the earliest commentaries on Agamas, was in 2nd century A.D., though during Valabhi Vacana, some researches were made but that is in Cheda-sūtras and Ogha Niryukti. The most of the archaeological references of upakaraṇas/belongings are available on the pedestals of Jina images where sādhus and sādhvis are depicted in various form. On Mathurā sculptures, the sādhus and sādhavis carried more than six belongings as seen on following bas-relief of JinaAn ascetic is carved holding a mukhavastrikā besides a folded blanket in usual way to covers his nudity (fig. 24, J.20 LM.). Here the inscribed names and gaña of Sādhu with his belonging kula is confirmed by the Pattāvali of Kalpasūtra. Thus here an ascetic is projecting the condition of Niganthas and portraying their order before the split of Svetāmbara and Digambara. Out of 14 belongings five to six are clearly visible in Mathurā's Jaina images. Other four arei) Pātra sthāpana, ii) Pātra puch, iii) Rajastrāna and iv) Gucchaka / pātrakesarika. They are very small cloth pieces not required any separate depiction. The practice of their use adopted with the tradition of using utensils. The motive behind the need of such small cloths are benefitted as a filter, to keep cleanliness and to serve as lid for water jar. Ārya Raksitasūri allowed to keep a mätraka since 1st - 2nd century AD. So out of 14, 10 are already mentioned. The remaining four are three bedcovers (Pracchadaka) and one cloth - Chola pattaka. In the Pali Tripitakas55 there is mention of Ekasāțaka Nigantha. Ācārānaga-sūtra as discussed earlier, a sādhu can keep one to three cloths. Svetāmbara monks later on started keeping Cola patta. Thus to keep 14 articles by Sramaņas are accepted by their tradition. Yāpaniya sect accepted 14 belongings in their literature but in practice kept only two - pratilekhana and excretory bowl56. The rest of the articles were
54 Jain S., "Jaina Dharma Kā Yāpaniya Sampradāya” pp. 469 to 485 and also pl.-3. 55 Frien Chill
- मज्झिमनिकाय, महासिंहनादसुत्त१/१/२ अदुवा संतरूत्तरे अदुवा ओमचेले अदुवा एगसाडे अदुवा अचेले।
- आचारांग सूत्र (आत्मारामजी) १/८/५१ पृ० ५८५ 56 चतुर्विधं उपधिं गृह्णता बहु प्रति लेखनता न तथा चेलस्य।
- भगवती आराधना (विजयोदया टीका) गाथा ४२३ पृ० ३२२

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used when in need. On the base of belongings, the two traditions of Sramaņas - with the Jinakalpi and Sthavirakalpi came into existence. In Jainism, it is necessary for all ascetics to keep rajastrana or pratilekhana, even if he is practicing nudity. The purpose of keeping the same is for cleaning the place and to save lives of minute insects. The pratilekhana and its synonyms from various texts are given below: 1. Dasavaikālika sūtra - Rajoharana / Pāyapucchana/Gocchaga/Gocchaka. 2. Niśitha bhāșya - Rajoharana/Pāyapurchana. 3. Brhatakalpa-sūtra - Munjachippana. 4. Sthānānga - Payapurchana. 5. Uttarādhayayana-sūtra - Pāyakambala. 6. Mulāacara - Pratilekhana/Padilehana. 7. Bhagavatī-ārādhana - Pratilekhana/Padilehana. 8. Nitisara - Picchi. 9. Bhadrabāhu kriyāsara - Picchi. 10. Ācārānga, Sūtrakstānga, Bhagavatī, Jnātādharma-kathā,
Upāsakadasānga - Pāyapunchana. It seems that in ancient times a piece of blanket was used for cleaning the vessels, which later on was made into rajoharaṇa by folding the same in round to use as a stick with front opening. The upper side was made hard by using dried grass etc. for carrying easily. In the villages there is a still practice of preparing bamboo brooms opening from front. To make Rajoharaṇa, the wool, flax and grass are used. The ascetics on the bas-reliefs of images are carrying rajoharana of various shapes and sizes. In the Khajuraho some of the sculptures of Digambar Áramaņas are holding long rajoharaņas. These may be the Mayūrapiccha shaped like the Rajoharaṇa of Svetāmbara monks. In view of Dr. Jain Sagarmal, "In the scriptures Bhagavatī-ārādhanā and Mulācāra one finds Padilehaņa/Pratilekhana instead of Picchi/Rajoharaṇa which is related with its uses not with its shape and size. It is surprised to note that both the texts have nowhere referred the Mayurpicchi. Though in both the scriptures one finds the five qualities and work done by this object - free from dust and perspiration, delicate, soft and light

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weighted. Even it is said that the object must so soft that it won't give any pain if touches the eye. From these references it is clear that Yāpaniya ascetics kept Pratilekhana or Mayūrapiccha but of what kind is not mentioned. From the commentary on Șadadarśana - samuccaya, of Gunaratnasūri (13th century) clarifies that Yāpaniya Śramaņas were keeping Mayurpicchi. The Yapaniya commentator of Bhagavatī-ārādhanā, Aparajitasūri (8-9th century) elucidates the word Padilehana as Pratilekhana in the Tika where the same is used only once or twice57 while in the Tika of Mulācāra, Vasunandi (12th A.D.) has always explained the same as Picchi. Thus generally in the beginning, Pratilekhana, Picchi or Rajoharaṇa was used for cleaning purpose irrespective of size and form. In Yāpaniya tradition the mayurapicchi was no doubt popular as the qualities which are mentioned in the scriptures are all available in Mayurapicchi. Svetāmbara Agamas have never oppose Mayurapicchi, Niśitha cūrņi has reference to carry the same for cleaning in special cases (Gatha-822)."58 This article performs the work of cleaning having different form, size and shape, either called by Picchi or Gadhapichi or Munja pichi is Pratilekhana. Here the work of the same has given importance not the form. Afterwards these specific Pratilekhana becomes a symbol of identity of both the sects i.e. Mayurapicha - Digambara asscetics while Svetāmbara - woolen Rajoharaṇa. Patra (Kamandalu): In Ācārānga cūrni a list of possessions of ascetics is given in which Kundikā is also mentioned. In Yāpaniya scripture Mulācāra, refers to a patra to use for excretory purpose. Ācārānga sūtra talks option of the ascetics keeping a patra or not, selection of Patras, thus there are few opinions found. In Bhagavatī Ārāadhanā (Yāpaniya text) refers to bring alms in bowl/patra for the aged and weak ascetics. B) The belongings of Seers as Observed on Pedestal of Jinas: The depiction of Sādhus-Sādhvis on Mathurā sculptures clear many wrong assumptions.
1. The sculpture, (fig. 87, AIIS-17.53) has a depiction of an ascetic 57 Jain S. Jain Dharma ka Yapaniya Sampradaya.., fn. 1-2, 484. (Bhag. Aradhana, Gatha
98.) 58 Jain S. Yapaniya Sampradaya..., 483-484.

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who is without any clothes holding a small Rajoharana with one hand and a jholi to keep alms-bowl (pātrā) in another. The period of this image is of 1st century A.D. This depiction strengthens the system of bringing alms for weaks and old ascetics. Moreover to bring food in pātarās and keeping the same in jholi/cloth bag is
still in practice with Svetāmbara tradition. 2. The ancient image of Sarasvati (fig. 32) has an ascetic holding a
blanket with left hand and kamandalu with right, the Śrāvaka is
standing on the left of the deity. 3. In the Āyāgapața of Loņaśobhikā (fig. 41) the top of the stūpa
is flanked by flying ascetics with a Kambal wrapped on left arm
carrying alms bowl. 4. A pedestal of standing Jina (362.77, AIIS, 12.276 MM, fig. 88, 89)
has two male ascetics on right of Dharmacakra wearing clothes covering their shoulders too. Here the Sādhvi holds Pratilekhana
with right hand and a cloth/Sanghāti with left. 5. An image of a monk in svādhyaya/pravacana Mudra (B. 20 LM. and
fig. 90A) though without head then also provides much information of a Sādhu. He is sitting on seat/Katāsaņa whose border is clearly visible. He carries a manuscript with right hand while left hand drawn upward in giving sermon. A folded cloth covering his left
shoulder is like the ascetics wearing in fig. 89. 6. A pedestal59 of an image (fig. 86) carrying a three Jewels symbol at
the centre which is flanked by a male and a woman ascetics with Rajoharaṇas in their hands. Here an ascetic is wearing clothes and Sādhvi is wearing Sanghāțis.
59 AIIS, 18.72, J.19 LM.

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The gradual development of Deities in
Jaina Pantheon
In Agamic literature many references to veneration of Yaksa and Yaksa shrines (caityas) are found. In Kuşāņa and pre Kuşāņa period the trend of carving yakşa-yakṣī along with Jinas were not in vogue but, in early medieval period a system of carving Yakşa-Yakṣī on a pedestal of Tīrthankara came in to practice. Hence it seems that the trend of carving them along with Jina is a later development. The obtained artefacts from Kankālī Tīlā confirm the veneration of some deities since Kșatrapa period but their adoration flanking the Jina or on a pedestal came into practice in early medieval period, though there are few images of Kuşāņa period flanking Jina with devotees might be deities as they are wearing crowns.
4.1
The Trend of Veneration of Deities in Jaina Pantheon:
The obtained images of Laksmī, Sarasvatī, Surya, Kubera Ganesa, Ambikā and Cakreśvarī, etc. from Kankālī Tīlā strengthened the cult of their worship individually or with Jina. The images of Pārsvanātha with canopy of Dharanendra also show the existing trend of worshipping deities with Jinas. The Paumacariyam!, Sthānānga-sūtra?, Samavāyanga-sūtra’, etc. talk about great personalities4 (Salākā purusas). Out of them, 24 Tīrthankaras and Krsna - Baladeva were more popular.
4.2 The Krşņa and Balarāma with Arişğanemi:
The mention of Krsna and Balarāma is available in Uttarādyayanasūtras (c. 3rd B.C.). Afterwards a detailed description is offered in Harivansa-purāna and Mahā-purāna (7th A.D.). Nāyadhamma-kahāo also talks about Krsna. Antagada-dasāo (in later edition) describes Krşņa
1
2 3
1) Paumacariyam, edi. Jacobi H., (Varanasi, 1962) pp. 5, 145-57 (63 Salākā Puruşas).
II) Tivari M. N., Jain Pratima Vijnana (Varanasi, Pārsvanātha Vidyapitha, 1981), pp. 32. Sthāṇanga-sūtra, edi. Ghasilal, (Rajkot, 1964), pp. 22. Samavāyanga-sutra, (54 Salākā puruṣas, here 9 Prativāsudevas are not included), pp. 132, 158, 207. 24 Tīrthankaras, 12 Cakravartis, 9 Baladevas, 9 Vāsudevas and 9 Prativāsudevas. I) Tivari, Jain Pratimā Vigyāna..., pp. 32. Uttarādhyayana - 22nd and 27th Adhyāya. II) Jacobi, Jaina sūtras, part II, 112-119. Tivari M. N., Jain Pratimā...., pp. 32.
4 5
6

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8
9
as a ruler of Dvāraka while Ariṣṭanemi renounced the world in his presence. From these scriptural references and images of Aristanemi with Balrama - Kṛṣṇa, Jacobi and Srivastava as well as M. N. Tivari clarify that they were assimilated in Jaina faith before the Christian era. The two individual images of Balarama found from Samkisa and Kaǹkālī Tīlā, where the inscribed image from Samkisa is flanked by a Jaina ascetic and two devotees (fig. 91, 92) with an attractive carving of makara on reverse (c. 1st A. D.). This is now housed at Switzerland in a private collection. It was displayed at County Museum, Los Angeles, in an exhibition pertaining to 'Jaina Art from India'. Later on, the photographs of displayed artefacts were published Thames and Hudeson under the heading 'The peaceful Liberators'. Here Balarama is sitting in lalitasana with a club behind his right arm raised to bless the devotees. According to Dr. Hartel, the partially legible inscription also identifies the deity as Balarama 10. The other standing image (fig. 29, G. 215 LM) of Balarama from Kankālī Tīlā has a canopy of snake over his head. He is holding a long ploughshare (hala) with left hand while small club (musala) in the right. This is his earliest representation, assigned to 2nd century B.C. which may be affiliated to Jaina pantheon, if one compares the same with above discussed images.
Mathura is the famous ancient seat of Vaisnavism. Besides Katra-Kesavadeva, many shrines of Kṛṣṇa -Dāuji (Balarama) still existing and are visited by devotees. This emphasises that a popular cult of Balarama existed here. It is possible that Jaina Sangha of Mathura, realised their popularity and incorporated them in Jaina pantheon separately or with Aristanemi. About 15 images of Aristanemi with his cousins acquired from Mathurā where one is of medieval period (accn. no. 2000.42 MM.) found from Dampier Nagar, Mathura. It is only a fragment showing a corner part of Jina Neminatha where Balarama could be recognised with his snake hood.
7
I) Tivari M. N., Jain Pratimãā...., pp. 33.
II) Antagaḍa-dasão, ed., L.D. Barnet, (Varansi, reprint, 1973), 12.
Tivari, Jain Pratima.., pp. 33.
Ed., Thames and Hudson, '(The Peaceful Liberators), The Jaina Art from India' (Los Angeles, County Museum, 1996), pl. 53.
10 Ibid. pp. 53 with plate.

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One headless image of Aristanemill from Cauraši mound is of early medieval period flanked by Balrāma and Krsna. On the pedestal of the same has a vertical cakra carved at the centre flanking with a yakșa and yakṣī. A statuette of Aristanemi (34.2488 MM.) assigned to Kuşāņa period seated in dhyāna mudra has a scalloped nimbus flanked by Balarāma and Krsna. His other images of same period are now in Lucknow Museum viz. J 8 (97 A.D.), J. 47 (1st A.D.), J 60(1st A.D.) J 117, J 121(5th A.D.).
4.3
The Origin, Development and Practice of Tantra in Jainism: In Jainism the 14 purvas (scriptures), considered very ancient comprise with mantras and vidyas, when uttered with meditation produce miraculous powers. They are now extinct, but whatever recollected through oral tradition are incorporated in Agama literature. The origin of tantric practice in Jaina faith is available before 1st Kalpasūtra mentions two vidyādharas - Vidyācāraṇa and Janghācāraņa having vast knowledge of Tantrism i.e. doctrines of rituals, disciplines, and meditations of Tantrism. Therefore they are called vidyādharas (Dhārayati vidyā iti vidyādharaḥ). As per Jaina scriptures, Gautamasvāmī reached the peak of mountain Aștāpada with the power of Sun beams. One of the purva, Vidyā-pravāda speaks Navagraha śānti stotra composed (retained) by Bhadrabāhusvāmī-I, the 5th Śrutkevali. The stotra12 mentions a procedure of adoration of Navagrahas with rituals when a person is in trouble. His disciple Sthulabhadra also acquired the knowledge of certain mantras with his blessings. Once Sthulabhadra's sisters came to greet when he was meditating, he changed his form on seeing them. They saw a lion instead of their brother, who in fact had transformed his body into that of a lion by some mantra he had learnt. The sisters, ran to Guru Bhadrabāhu and narrated the matter. The Guru immediately understood the misuse of power so he again sent them without mentioning anything. This
11 Accn. no. 37.2738 MM, Catalogue of Jaina Antiquity. (Mathurā, G. Museum, 2003),
P1.40. 12 Nitya Patha Samgrah, ed. Sarabhai Navab, (Mumbai, Meghraj Pustak Bhandar, 1941).
Janma lagne ca Rašauo ca yada pidanti khecarāḥa,.../ Puspaehi, Gandhaiḥ, Fala-naivedya Sanyuktaiḥ...// // Jinanamagratah kritva, grahanam santi hetave..// Bhadrabahuruvacaivam pancamaḥ śrutkevali// Vidyāpravadatah purvad, graha santividhim śubham/ -Grahasanti stotram. ,

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time Sthulabhadra was in his usual form. After this event the Guru stopped giving him further knowledge, but when Jaina-sangha appealed to Bhadrabahu, he taught him remaining Draṣtivada but without its detailed explanation. From this episode one can infer that Jainācaryas had knowledge of tantra (vidyās), but were supposed to use them rarely only when in need, for the sake of religion and not otherwise. Bhadrabahu II composed Uvasaggaharam stotra13 at the time of epidemic on the request by Jaina Sangha to avert the same. Here, in the beginning, both Parsva - i.e. Tīrthankara Parsva and a yakṣa Parsva are saluted and prayed to help devotees in such a situation. The Parsva yakṣa of Jaina pantheon resembles lord Ganeśa. Here yakṣa Dharana and yakṣi Padmavatī are also adored to get rid of grief and to achieve Mokṣa. Thus by the time of second Bhadrabahu (5th century A.D.), yakṣa-yakṣi families were accepted as guardians of Sangha.
Ārya Vajrasvāmī used Paṭṭavidya during a natural calamity to carry the Jaina sangha at a safer place in 1st century A. D. Avaśyaka-niryukti, a commentary on Avaśyaka-sūtra refers that Vajrasvāmī secured many magical powers (vidyās) before these went in oblivion. We know that with the help of Bow-and-arrow knowledge (vidya), Acārya Kalaka defeated king Gardabhilla and rescued the female ascetic named Sarasvati. The Ayagapaṭa (Q.2 MM) of Lonaśobhikā comprises of the depiction of monks flying in the sky14. Even the depiction of flying Sadhu along with Indra is seen on a sculpture, though it is in two pieces but provides plenty of information of that period15. It displays some unidentified object flanked by a flying Jaina monk and Indra. This shows that magical powers were mastered by Jaina ascetics. All above literary and archaeological evidences prove that the practice of tantra and mantra and to possess super natural power was popular in Jaina tradition earlier to 1st century A.D., but the Acaryas rarely used them, that is too for ensuring safety of Jaina Sangha in ill situations. Some of the Jaina Acaryas who mastered magical powers with their related mantra to save the religion are as follows -
1. Arya Khaputa
1st century A.D.
2. Ārya Rohana - 2nd century A.D.
-
13 Pañca pratikramaṇasūtra, "Uvasagga haram Pasam, Pasam vandāmi kamma gana mukkam", Bhadrabahu II.
14 V. Smith, Jaina stupa at Mathurā.., pl. CIII, (Ayagapaṭa of Loṇaśobhikā). 15 Ibid., pl. XVI.

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3. Ācārya Nāgārjuna - 4th century A.D. 4. Ācārya Yaśobhadrasūri - 4th century AD. 5. Ācārya Mānadevasūri - 4th century A.D. 6. Siddhasena Divākara - 4th century A.D. 7. Mallavādi - 5th century A.D. 8. Mānatungasūri - 7th century A.D. 9. Haribhadrasūri - 8th century A.D. 10. Bappabhatļasūri - 9th century A.D.
11. Siddharaśi - 9th century A.D. **12. Surācārya - 11th century A.D.
13 Jinesvarasūri - 11th century A.D. 14 Abhayadevasūri - 11th century A.D. 15 Virācārya - 11th century A.D. 16 Jinadattasūri - 12th century A.D. 17 Vādidevasūri - 12th century A.D. 18 Ā. Hemacandra - 12th century A.D. 19 Ā. Malayagiri - 13th century A.D. 20 Pārsvadevagaại - 12th century A.D. 21 Jinakusalasūri - 13th century A.D. 22 Jinaprabhasūri - 14th century A.D. These Ācāryas raised the glory of Jainism by Mantra, Yantra and Tantra power. Afterwards the worship of some divinities came into practice who gained more popularity than before. Till today a system prevails where before commence any work with a salutation to deities is offered 'Jina Śaśana Deva kī jay'. Even they are included in rites and rituals by many Jain Ācāryas. The practice of offering fruits and sweets came into existence, though only the offering to Viras like Ghantākarņa and Manibhadra were accepted as 'prasāda' by devotees. In the beginning, the auspicious symbols, 24 Tīrthankaras, their life incidences and philosophy 16 were carved for adoration. Then
16
Viz. three jewels, svastika, nandyāvarta, wheel, etc.

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the worship of mothers of Jinas with young Jinas in lap came into existence (fig. 138). Afterwards the past and future Jina images came to be chiselled. It is well known that Jaina tradition emphasises the doctrine of karma sturdily. Accordingly, a person is responsible for his own action or Karma. It is not easy for a laymen to grasp the deep-rooted philosophy, to practice its strict tenets and to walk on spiritual path for achieving final goal of life - ‘Mokşa'. Also due to the fear of their conversion into other faiths, Jaina Ācāryas incorporated the worship of different deities to fulfil the wishes of lay followers with the help of yantra, and mantra practice. The Tīrthankaras are great beings, detached from worldly affairs and therefore adorations of Salākā puruṣas, Rudra, Nārada, Kulakaras, parents of Tīrthankaras etc. were established. But when they didn't gain popularity, then Jaina leaders made room for the practice of adoration of many deities from other faiths like a cult of 10 Dīkpālas, 64 Yoginis, 52 Vīras and 9 Grahas. They are added to deva clan, seeing their influence, though 16 Vidyādevīs (fig. 139), Āryāvati, Negameșa, Surya, Kșetrapāla etc. were worshipped since long. The yakşa-yaksī of a Tīrthankara either in the form of Adhisthāyaka deva or as devotees are noticed in some of the images (fig. 54). The renowned scholar Dr. Jain S. observed the development of the process of veneration of deities in Jainism and comments as follows: "In Jainism, the adoration of a clan deities is not because of their capacity to fulfil worldly desires, but they themselves are devotees of Tīrthankaras. These deities possess miraculous powers and are helpful in achieving worldly desires of aspirants. Their adoration, with rites, rituals and meditation are provided according to Jaina faith 17". Thus in Jainism, deva cult is venerated as they themselves are devotees and guardians of Tīrthankaras. The yakşa-yakṣī (Adhisthāyaka deva) of Tīrthankaras always assist adorants. The Jainas call them śāśana devatās who represent a class of gods classified as - Bhuvanapati, Jyotiska, Vyantara and Vaimānika. Yaksa - yakṣīs are considered as Bhuvanapatidevas who are benevolent and malevolent. Benevolent devas help the devotees to solve the obstacles in life and also assist to enhance spiritual activities, while malevolent do not involve in any activity.
17 Jain S., Jain dharma ka sanksipta Itihas, 2003, pp. 46.

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4.4
The Contribution of Hinduism in the development of Deva cult: The existence of deities in Hinduism is much earlier than Jainism as per the opinion of scholars. The king of yakşas is Kubera/Vaisravana in Vedic literature. Many Vedic gods and goddesses were incorporated in Jaina pantheon as Yakşas and Yakṣīs of the Tīrtharkaras, viz. Cakreśvarī, Kālī, Jvālāmālini, Cāmundā, Ambikā, Padmāvatī, Brahmā, Şaņmukha, etc. Jaina adopted Hindu cult and presented them as the worshippers of Tīrthankaras. Jivābhigama-sūtra18 describes Vaisramana as the chief of the yaksas as well as the head of the North direction. He was worshipped as deity since the period of Mahāvīra19. His two forms exists, an individual and a devotee, besides as a protective yaksa of a Jina. In the medieval period, Jainism included 64 yoginis in the clan of deities as the attendant deities of the Kșetrapālas.20 Their names are mentioned in Ācāra-dinakara without any iconographical details. One ancient image of Ksetrapāla available in 1960 (fig. 23) with Jina on head seems to be of 1st century or little early from its archaic character.
4.5
The Yakșa and Yakṣī in scriptures and Mathurā Art School: In Bhagavatī-sūtra21, a list of 13_obedient yakşas are given - Puņnabhadda, Maạibhadda, Sumanabhadda, Sālibhadda, Cakka, Rakkha, Punnarakkha, Savvana(Sarvāṇha), Savvajasa, Samiddha, Amoha, Asanga and Savvakama. Besides this, Tattvartha sūtra22 also presents a list of 13 yakşas where first three are common, others are Svetabhadra, Haribhadra, Vyatipatikabhadra, Subhadra, Sarvatobhadra, Manuşya-yakșas, Vanādhipati, Bāņahara, Rupayakșa and Yaksottama. It seems that the resting places of Lord Mahāvīra might be such Yaksāyatanas.23
18 I) Jivābhigama, 3, pp 281.
II) Vijayendra sūri, Lok Prakash.., 1960, pp 357-8. 19 Vijayendra sūri, Lok Prakash.., 1960, pp 357-8. 20 Tivari, Jain Pratima..., 1981, pp. 43. 21 I) Bhagavatī sūtra, 3, 7, 168.
II) Tivari, Jain Pratima.., 1981, pp 34-35. 22 1) Tivari, Ibid.
II) Tatvartha sūtra, edi., Sukhalal Sanghavi, (Banaras, 1952), pp 119. 23 Shah U. P., Yakşas worship in early jaina literarure', in J.O.I., vol. 3, pp. 62-63, Jambuka
vana, Bahuputrika-caitya, Purnabhadra-caitya, Gunasila-caitya, Nandana, Chatra-palasa

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While studying the sculptures of Mathurā school it appears that the adoration of yakșa and yakṣī was already in practice since 1st era of Kuşāņa or little early. On many images of this art school, yakșas are credited as flywhisk holders of Tīrthařkaras (fig. 43, 81).
4.6 Āryāvatī (fig. 33):
The deity Aryāvatī represented on Āyāgapata with three women attendants - a flywhisk holder, an umbrella holder, and one with a garland as well as a child or devotee. The inscription on the top mentions that it was gifted to Jaina shrine by Amohini in the year 42 or 72 of the reign of Ksatrapa king Śhodāsa. It commences with adoration to Vardhamāna. Here the two uprights have lions on top.
4.7 Negameșa / Harinagameși:
The Jaina canonical literature were aware of the transfer of Mahāvīra's embryo from mother Brāhmani Devānandā to Ksatriyani Trisalā. Here the process of embryo transfer/Garbhaharaṇa is considered as one of the ten wonders narrated in sacred sutras24.
4.8
The Transfer of Embroy as described in Scriptures: In Ācārānga-sūtra25, the incident of transfer of embryo is described with planetary condition of Nakșatra 'Uttarā-phālgunī' including the total days of pregnancy. A detailed description of procedure is recounted in Vyākhyā-prajñapti also known as Bhagavatī-sūtra.26. Accordingly the work of transfer of embryo of mothers was carried out without giving any trouble to them. Hariņegameși was able to perform the work by touching the pores of skin with the help of nails while making all the family members
24 I) Sthānānga-sūtra, part 2,sūtra -777, pp 523 - 21: Samvayanga-sūtra, trans. by
Malavaniya, pp. 891, Kalpasūtra-subodhika Tika,, pp 64. II) Vijayendra sūri, Tīrthankara Mahavīra, 1960, pp 104. 25 Ācārānga-sūtra, second Sruta-skandha, Bhavana Adhikara, pp 388-1-2. 26 I) ...Hariņegameși - sakkasa nam due ithigabham nahasiramsi va romkuvamsi...va. //
Vyakhya Prajnapti, - Shataka 5, Uddesha 4, pp 218/1. II) Vijayendrasūri Tīrthankara Mahāvīra pp. 107.

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unconscious. This task is also accounted in Loka prakasha.27 The image of Negamesa is represented with the head of antelope or a goat. His reference is also available in Suśruta-saṁhitā, Kalpasūtra, Neminātha-caritra, Antagada-dasāo, etc. Acarya Rajendrasurī explained the word Harinegamesi - in Rajendra-kosha as one who obeyed the command of Hari-indra and also transferred the embryo of Mahāvīra is Harinegamesi-- 'हरेरिन्द्रस्य नैगममादेशमिच्छतीति हरिनैगमेषी' अथवा 'हरेरिन्द्रस्य नैगमेषी नामा देवः यो देवानंदायाः', कुक्षेर्वीरजिनमपहृत्य त्रिशलागर्भे प्रावेशयत् ।
- अभिधान राजेन्द्र, खंड ७, पृ. 1187. As per old medical literature Suśruta-saṁhitā, a disease in a pregnant woman is called Negamesa-pahrta. In this, the foetus ceases throbbing in the womb and it appears as if life has ceased to exist in the foetus,
making the abdomen compressed. This disease - Negamesāpahrta28 is an evident reference to deity Naigmeșa who transfered Mahāvīra's embryo. In the twenty seventh chapter of Susruta-samhita 'Uttara-Tantram', the deity
27 I) सप्तानामप्यथैतेषां सैन्यानां सप्त नायकाः ।
सदा सन्निहिता:शक्रं विनयात् पर्युपासते ।।८।। ते चैवं नमतो वायु रैरावणश्च माठरः । स्यादमध्दिं हरिनैगमेषी श्वेत श्च तुम्बरः ।।८।। पादात्येशस्तत्र हरिनैगमेषीति विश्रुतः । शक्रदूतो अति चतुरो, नियुक्तः सर्व कर्मसु ।।८४।। योसौ कार्यविशेषेण देवराजानुशासनात् । कृत्वा मक्षु त्वचश्च्छेदं रोमरन्चैर्नखांकुरैः ।।८५।। संहर्तुमीष्टे स्त्रीगर्भ, न च तासां मनागपि । पीडा भवेन्न गर्भस्याप्यसुखं किंचिदुभ्दवेत् ।।८६।। तत्र गर्भाशयाद्गर्भाशये योनौ च योनित: योनेगर्भाशये गर्भाशयाद्योनाविति क्रमात् ।।८७।। आकर्षणामाचनाभ्यां चतुर्भङग्यत्र संभवेत् । तृतीयेनैव भङगेन गर्भ हरति नापरैः ।।८८।।
- Loka Prakasha, Sarga 26, pp 334-2, 335-1. II) Viajyendrasūri, Tīrthankara Mahāvīra, pp. 116. 28 शुक्रशोणितं वायुनाऽभिप्रपन्नमवक्रान्तजीवमाध्मापयत्युदरम् ।
तत् कदाचिद यदृच्छयोपशान्तं नैगमेषापहृतमिति भाषन्ते। तमेव कदाचित् प्रलीयमानं नागोदरमित्याहुः तत्रापि लीनवत् प्रतीकारः ।।६।।
- Susruta-samhitā, trans.y Kavi Kunjalal, (Varanasi, Chowkhambha
Sanskrit series), ch. 10, Sarira Sthana, gatha - 61, pp. 274-275.

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Negameşa is considered as a pitřgraha, as he acts as the guardian and protector of children. His position, discussed in nine grahas is prominent as a male Graha29. Here infant diseases are classified into nine with their symptoms - Skanda, Skandāpasmara, Revatī, Mukhamandikā and Negamesa or Pitr-graha30 etc. and their separate treatment is prescribed. If the child has not recovered, then the worship of the above grahas is recommended by lighting a lamp of mustard oil and putting mustard seeds on the floor with flowers and garlands. Thus to protect children from various diseases symptomatic method is recommended but in case the child is not cured then parents are advised to adore the related Yakşa-Yakṣī. In this Samhita the word 'Ajānana:31 is used for Negamsa deity shows the fixing of iconographic formula while compiling the work Susruta-samhitā, where Aja means goat and anana for head. V.S. Agraval32 noted about this deity“In the beginning of Christian era, the iconographic formula of Naigamesa had become settled with its characteristic features - a) The deity was beneficent to children and was considered their
guardian protector (Pitrgraha); b) he was believed to have a goat's head; c) He had been taken out of the orbit of the Jain religion and had
grown popular as the presiding deity of children amongst all classes of people, and certainly in a much wider society than implied in the Jaina reference, for the medical literature refers the deity in a
non-sectarian strain.” The Negamsa deva is even discussed in detail by A. P. Jamkhedkar in 'Vasudeva Smrti Saṁhita':33 The other reference of Negameşa is available in Kalpasutra - when Indra became aware that Mahāvīra's soul (jiva) had taken place in the form of an embryo in the Brāhmani Devānandā, he first paid a homage to Arhat that was to be born. He understood that an Arhat ought not to be born in
29 Suśruta-saṁhitā, 27th Adhyaya, slokes 2,3,4 and 15. 30 Ibid, slokes, 7,9,11,12,15,18 and 21. 31 अजाननश्चलाक्षिभूः कामरूपी महायशाः। बाल पालयिता देवो नैगमेषो भिरक्षतु ।। 32 Journal U.P.H.S. Vol. XX PT I&II, V.S. Agrawal, article on 'A note on God
Naigmeşa'. 33 Jamkhedkar A. P., “Naigamesha: A Reconsideration in the light of a Vedic Rituals”, in
Vasudeva Smriti Samita, ed. Agrawal P. K., (Varanasi. 2014), pp. 189-197.

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a Brahmanical family, but only in royal race. It always had been the duty of the reigning Indra to see this tradition. In order to fulfil his duty Indra directed Haringameși-deva, the divine commander of infantry, to exchange Mahāvīra's embryo from Devānandā to the royal queen Trisalā of the Ksatriya race who was also carrying a baby. During the operations the two ladies and their attendants were given a sleep. The deity Negameşa returned to Indra and reported that the work assigned to him was completed.34 As per the katha in Antagada-dasao, Krsna expressed his wish35 to the deity that he wanted one younger brother.
The text Neminātha-caritra also comprises with the story of this deity. Here the story is connected with the life of Aristanemi and Krsna.
4.9 Images of Naigameșa from Mathurā:
There are sixteen images of Negameşa obtained from Kankālī Tīlā and surrounding areas in Mathurā. Out of these 14 are in Mathurā museum, one of in Lucknow museum while the remaining one36 is at 'The Russek Collection' which is out of India. The deity is not shown carrying any weapon, the reason might be that he is associated with children as seen in literature and sculptures. 1. On a frieze of Garbhaharana, (fig. 14, 15), Hiranyagameși (very
often known by this name in Jaina canon) or Negameşa is shown seated on lion throne37 after transferring the embryos. One can see the sweets offered to him as a mark of honour. Out of three standing women, one carries a flywhisk, second is in blessing while third carries a baby in her left arm and keeping her right palm open for blessings. While transferring the embryos, at a moment, there must be two children (embryos) outside the womb, the unborn Mahāvīra is carved with Pratilekhanā taking support of Negameşa-deva, while other baby is held by mother Devānandā. The words “Bhagava.. Nemesa” (LL No. 101) depicted on the frieze below the deity's seat is of archaic character representing a legend from Kalpasūtra
34 1) Kalpasutra subodhika tika,sūtra -27, pp. 91-95. Sthananga, 5.1; Bhagavatī Aradhana, 5.4:
II) V. S. Agrawal, 'A note on God Naigmeşa..': Vijayendrasūri, op. cit. pp 108. 35 I) Ed. N. V. Vaidya, //Icchami nam Devanuppiya sahoyaram kaniyasam bhauyam viinnam//
- Anatagada-dasao, pp 11. II) Vijayendrasūri, op. cit., pp. 119. 36 Thames and Hudson, op. cit.' The Jaina Art from India - The Peaceful Liberators'
sculpture no. 54. 37 V. Smith, Jaina Stūpa at Mathurā.. pl - XVIII, obverse and reverse.

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where he is mentioned as Hariņegameși-. The event is even narrated in Samavāyanga-sūtra and Rājaprasniya-sūtra. In this sūtra 14 life incidences of Tīrthankara Mahāvīra are dramatized where this was
the fourth episode 38 2. A goat headed Naigamesa deity (E1 MM or 34.2547 MM, fig. 94)
housed at Mathurā Museum is of early Kuşāņa period. He wears necklace as well as holding two children with folded hands on each
shoulder. 3. The counterpart of this deity holds a male child in a cushion with
left hand while blesses the devotee with right. Here also a sleeping child is shown with folded hands to respect the divinity (E. 2 M.M.,
fig. 34). 4. The other images displayed in Mathurā Museum are 34.2482, 16.1210.
15.1115, 15.1092, 15.1001, 15.909, 15.799. Most of the photographs are covered between the plates number 44 to 49 in the 'Catalogue of Jaina Antiquities' published by Government Museum Mathurā in 2003.
4.10 Vidyā:
One sculptured panel with two registers where upper has a stūpa flanked by two Jinas and a lower represents an ascetic, a deity and female devotees with a lady ascetic. The stūpa has two vedikās and a caitya-vskșa. One upright pillar on a corner of lower register has a wheel on the top while another figure on a top is beyond recognition. Here Jaina Śramaņa recognised by the name Kanha with the engraved words "Kaņha Sramano' between a deity and him. Here a standing deity is seen in varada near Sramana (fig. 100) having similar posture like Āryāvatī. The word 'Vidya' is seen in bold character near the deity's head. Here a question arises whether it is not the symbolic representation of 16 Vidyādevīs? The established date of the panel is 95 of Kuşāņa era equivalent to King Vāsudeva's reign.
4.11 Lakşmī:
An image of Laksmī (fig. 35, 80.2 MM.) found from Mathurā of Kuşāņa, period resembles with the image of Sarasvatī of the same period, hence it may be of a Jain pantheon. She is holding a full blown lotus stalk with left hand while right is raised to bless the devotees. She is
38 I)
II)
Samavāyanga-sūtra, pp 54, 32nd Samvaya. Rājaprasniya-sūtra, 84 sloke, pp. 143. Vijayendrasūri, op. cit., pp. 110-111.

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flanked with some divinity beyond recognition (might be Ganesa and Kuberā). Her Uşnişa is like Āryāvatī. Another image (J.23 LM. fig. 46) of a deity dated 52 Śaka year shows only her feet wearing thick anklets and a pedestal with an inscription that seems to be Laksmī. She is seated in a same posture like Sarasvatī. Both the inscriptions have similar words. The inscription of above stated image commences with śrivatsa, presenting her to be Laksmī. In spite of some similarity they are different chiefly in wearing ornaments, Sarasvatī image is without any ornaments while Laksmī is wearing thick anklets. The deity is included in 14 or 16 dreams of Tīrthankara's mother.
4.12 Ambikā:
In Jainism Ambikā is recognised as the yakṣī of Ariştanemi available either with two or four hands having the symbol of a bunch of mangoes and vehicle lion (fig. 137). In southern India she is known as Kusumāņdi. The Pratisthā- sāroddhāra, describes her with two hands and riding on lions. //Dwibhujā Simhasamārudha āmradevi haritaprabhāll (Pratișthā-sāroddhāra, manuscript from Ārā,Bihar) An image of Ambikā39 (fig. 36) obtained from Kankālī Tīlā is of medieval period. The deity is in lalitāsana seated on lotus cushion supported by her vehicle lion having beautiful round nimbus. A child is seated in her left lap and second child is standing on her right side, though the deity
nd both children are defaced. To the extreme right of her a Ganesa is seated holding a bowl of sweets to which he applies his trunk. On the left of her, next to lion, a Kuberā is seated, recognised by his purse and a bowl. Both have oblong haloes. The chief deity Ambikā is attended by two flywhisk holders on either side. A Tīrthankara Neminātha is shown on her head flanking Krisna and Balarāma as observed in Mathurā art school. The family group is adored by flying Indras standing on lotus. On the panel beneath, eight mother deities are carved (four on each side) with the children in hands.
4.13 Cakreśvarī:
An image40 (fig. 37) of Cakreśvarī - the yakṣī of first Tīrthankara Rşabhadeva, is obtained from Kankālī Tīlā. She is standing on a cushion supported by a Garuda, flanked with cavardharis. Her ten arms, though
39 Accn. no. D. 7 MM. 10th A.D. 40 Accn no. D. 6 MM. 10th A.D.

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some are mutilated, hold a wheel (cakra). A Jina at the top has two mālādhāris on either side. Here faces of Jina, deity and cavardharies are disfigured except the nymbus.
4.14 Some unidentified deities:
A tympanum (B. 207 LM., fig. 101, 102) has the carving of a stūpa, a Jina and an unidentified female deity at the centres in three semi-circular bands. The uppermost band shows a stūpa flanked by six adorants. In the second band, a Jina is worshipped by three adorants on either side while third comprises with a deity in blessing-pose (abhaya-mudra) sitting in lalitāsana flanked by six devotees, out of them first pair, next to deity is Negmesa on her right and a crowned male on her left. A Śālbhañjikā4l standing on a pedestal having lions on both corners is worth mentioning. Here lions are not displayed for lion throne as the female is standing so it is her mount (vāhana) depicted on pedestal. She is holding a branch of a mango tree and pointing her first finger towards a mango fruit. This sculpture is chiselled in round with blooming lotuses behind showing her divinity. This sālbhañjikā might be the yaksī Ambikā of earlier period. There are two more Sālbhañjikās standing on demons carved in round with lotuses behind and standing on strange persons (fig. 103). There is a reference of yakṣī Kuberā protecting the stūpa at Mathurā in Vividha-tirtha-kalpa having a vehicle a man (Naravahana). An Ayāgapața of Loņaśobhikā has two niches on the either side of the staircase, where the left niche comprises with a deity in blessing mudra who might be deity Kuberā.
4.15 Dharanendra and a Yaksi in a Canopy of Parsva:
One bronze image of Pārsvanātha with canopy of Dharanendra in Prince of Wales Museum (Mumbai) assigned to 2nd century B.C. This is the recognition of Tīrthankara Pārsvanātha image continued in Kuşāņa era and afterwards too. One Pārsvanātha image of late Kuşāņa period, found from Kankālī Tīlā has a yakṣī shown in the canopy of Dharanendra (fig. 47). It is difficult to identify the deity. Another standing image (J. 7 LM. fig. 2, 3, 4) carved in round, though without head, has a wonderful carving on each side. It has a yakṣī standing in blessing mudra under the caitya-vřkşa
41 V. Smith, Jaina stūpa at Mathurā.., plate-LXII

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The dreams of Jina's mother comprise of the Laksmī, Sun and Moon show that they are adored in Jainism in the form of symbols too.
4.16 Sarsavatī:
The earliest inscribed image of Sarasvati (fig. 32. J. 24 LM.) assigned to Kuşāņa era brings into focus her independent worship in Jaina pantheon. The deity squats on a rectangular seat with her knees drawn up, holds a book in her left hand while right hand, though without palm seems to be in varada. On her right a Sramaņa is standing with a pitcher (kumbha) in right hand while holds a Kambala with left as usual. To her left, a devotee is standing with folded hands. It is the earliest image of Sarasvatī with her name in the inscription.
4.17 Śrutadevī Sarasvati in Ardhamāgadhi Agama Literature:
Besides Arhats, the Ardhamāgadhi Jaina literature comprises with adoration of 16 Mahāvidyās but the Srutadevatā is not accredited with the prevails of performing mangala in the beginning. The text sūtrakritānga42 and Rsibhāsita have mentioned the knowledge (vidyā) of ascetics comprising with some skilful art and power like disappearing, Knowledge of languages, etc. but not referred to Sarasvati deity43. With the influence of tantric practice, many deities are given a room in the Jaina pantheon viz. Kankālī, Kālī, Mahākalī, Cāmundā etc.44 Even the accepted 16 Mahāvidyās are assimilated in 24 yakṣīs as the protective deities of Jinas, but nowhere Sarasvati or Laksmī is mentioned in a Deva clan. In Bhagavatī-sūtra first mangala is performed towards Pañca-Paramesťhī, script Brāhmi and Śruta45 - Namo Arihantanam' 'Namo Bambhie Liviye'/ 'Namo Suyassa/'. Here Śrutadevatā is not indicated. The second mangala is performed in the middle of the sūtra (Sataka15) where Śrutadevatā is worshipped - /Namo Suyadevayāe Bhagavaī467, but this included afterwards as per scholars as it is not available in its Tīkā and Vritti. Thus Sarsavatī first adored as a Suya/Jinavāni (Namo
42 sūtrakritānga, 2/2/18 43 Jain S., article on "Śrutadevī Sarasvati.." in., Titthayara, July, 2009. 44 B.C. Bhattacarya, Jain Icon.pp 16 fn, Also Vardhamānsūri, Acāra Dinakara. 45 Jain S., article on “Śrutadevi Sarasvatī...", pp 200 -210, in Titthayara, (Calcutta,
2009). 46 I) Bhagavatīsūtra - 9/33/149 and 163.
II) Jain S., article on "Śrutadevi Sarasvati..." in Tithayara, (Calcutta 2009).

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Suyassa), gradually the same Suya is considered as a Śrutadevī Bhagavatī (Sarasvatī) and presiding deity (adhișthāyaka deva) for the protection of scriptures. In the end (prasasti) of Bhagavati-sūtra, some more gāthās are available (c. 5th A.D.) for performing mangala. Here the writer (Laheayā) first adored Guru Gautama svamī and next to Bhagavatī-sūtra (Vyākhyā prajñapti) itself then the adoration is shown towards Dvādasa Gaạipitaka. Lastly, Śrutadevī is worshipped with all her guņas and prayed to destroy darkness of ignorance. The author requested the Śrutadevī to shower her blessings in getting knowledge for writing without any hindrance and obstacles47. He even asked the deity to confer cool and calmness to all devotees. This Prasasti, at the end of Sūtra represents Śrutadevī as presiding over knowledge but this is a later development after fifth century in the view of Dr. Sagarmal Jain: Therefore it is assumed in the beginning Sarasvati is referred as the distinctive form of Jinavani (Śruta) in Ardhamagadhi Agama literature by mentioning ‘Namo Suya Devayāe Bhagavaīe’48 Śruta is given sacred place for adoration which gradually converted into Śrutadevī and worshipped as a Bhagavatī. Jinavāni -to - Śruta -to - Bhagavatī of Bhagavatī-sūtra. In the Niryukti and Bhāsya literature Sarasvati is not offered the first mangala. The scriptures of Digambara tradition has reference to Śrutadevī Sarsvatī but this is a later addition49. Kaşāyapāhuda, Şatkhaņdāgama, Mulācāra, Bhagavatī-ārādhanā, Tiloyapannatti, Pañcāstikāya-sāra and Pravacana-sāra also do not mention Śrutadevatā Sarasvati as part of mangala in the beginning. Even the Tikās of Tatvarthasūtra viz. Sarvārthasiddhi, Rājavārtīka, Sloka-vārtika and the Tikās of Şatakhandāgama viz.
47 कुमुय सुसंठियचलणा अमलिय कोरट विटसंकासा ।
सुयदेवयाभगवती मम मतितिमिरं पणासेउ ।। वियसियअरविंदकरा नासियतिमिरा सुयाहिया देवी । मज्झं पि देऊ मे हं बुहविबुहणमंसिया णिच्चं ।। सुयदेवयाए णमिमो जीए पसाएण सिक्खियं नाणं । अण्णं पवयणदेवी संतिकरी तं नमसांमि ।।
- Gathas in the end of Bhagavati-sūtra, Jain S. article on
“Sarasvati..".Titthayea, July, 2009. 48 Bhagavatī-sūtra 9/33/149 and 163 49 Jain S., article in Titthayara, 2009, pp 230, 31.

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Dhavalā and Mahābandha50 do not have reference to Sarasvatī in the beginningsi. The word Sarasvatī occuring at four places in canonical literatureI) The Vyantara class' Indra, Gitarati Gandharva's queen, 'Sarasvatī’52. II) “Sarasvatī' as a sister of Ācārya Kālaka. III) The Vipākasutras3 contains a story of king of Rşabhapura, where a
queen's name is Sarasvatī. IV) Sarasvati as a river. At above four places 'Sarasvatī' is used just simply as a name of
individual, but not related to any deity. 4.18 Development of śrutadevatā/śrutadevī:
As we have seen Śruta is imagined as a śrutadevī in the form of adhisthāyaka deva and adored as - Namo Bhagavyai Srutadevtyai. Here 'Namo' comes to show respect and honour towards her. When a group of Śāsana-devatās and Vidyādevīs were introduced in Jaina deva clan at that time Śrutadevī is also imagined for Śruta devatā and represented as Sarasvatī deity as in Hinduism54. But in Jainism archaeological reference of veneration of Sarasvati image is earlier than scriptural evidences. The Sarasvati image from Kankālī Tīlā, Mathurā is the oldest available in the world, though without head and a palm provides plenty of information in this cult. She holds a role of Manuscript in a hand symbolizing her as a śrutadevī.
4.19 The adoration of Sarsvati in various scriptures:
The Vividha-tīrtha-kalpa, informs us that in the sixth century A.D. Jinabhadra Ksamāśramana arrived at Mathurā, saw the deteriorated condition of manuscript of Mahāniśītha-sūtra and decided to recondition the same. He then meditated on the Śāsanadevī at the stūpa to get her blessings in rewriting the lost portions. The scripture clearly indicates the Srutadevatā as one in the deva clan. The author requested the deity
50 The scripture and its commentary contain 44 Labdhipadas i.e. slokes to perform mangala
but nowhere Sarasvatī is mentioned. Jain S. article in Titthayara, 2009, vo, 5, pp. 231. 51 Jain S. article in Titthayara, 2009, vo, 5, pp. 231. 521) Ibid, vol. 4, pp. 203.
II) 10th Sataka, Bhagavatī-sūtra 53 Angasutra - second Sruta-scandha, Vipākasutra,2nd Adhyayana 54 Jain S., An article on Sarasvatī, vol. 4, 2009, pp 200 -210.

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to bless with her vidyā only to Śrutadharas who carry Āgama tradition, but not to bless any haughty persons. Again in the 8th Adhyayana, 24 Tīrthankaras and Tīrthas are venerated and then Jinabhadra bowed down to Śrutadevī Bhagavatī55. Thus for the first time we find Śrutadevatā in the form of deity. In Pañcāsaka prakarana, Haribhadrasūri (eight century) included Śrutadevatā with other Śāsana deities - Rohini, Ambā, Mandapunyikā, Sarvasampadā, Sarvasaukhyā, Śrutadevatā, śāntidevatā, Kāli, Siddhāyikā who are nine Devatas in numbers 56. The Tīka of this scripture announces a special penance named as Srutadevatā austerity (Tapa) wherein the deity is worshipped on every Ekādasī continuously for eleven times practicing fast without uttering a word known as Mauna-vrataS7. According to Pañcāsaka Bhāșya, Śrutadevatā is a deity of Vyantara class. In Angavijja (2nd cent. A.D.) she is considered as a deity adore as Śri, Meghā and Kīrti58 In Paumacariam (2nd cent. A.D.) Vimalsūri also refers to her as a deity (3/51). Sarasvatī-kalpa composed by Ācārya Bappabhattasūri comprises the proper method of her adoration and chanting process of mantras. This kalpa is a stotra prayer of 12 ślokas, have four lines each, glorified her qualities and dignity and then mantras are given in detail with the process of chanting and right time for adoration. Here she is adored describing her various names with its splendour and the fruits of adoration. The stotra also contains the mantras for improving self and thus to become intellectual. As per the author, besides mantras some Guţikās and Yantras also have power to reduce problems and obstacles. Sri Hemcandrācārya worshipped the deity with her various names as per her qualities. With the blessings of Śāradā he composed three and half crores ślokas in many languages on various subjects.
55 ) एसा विज्जा सिध्दंतिएहिं अक्खरेहिं लिखिया एसा य सिध्दंतिया लीवी अमुणिय समय सब्भावाणं
सुयघरेहिं णं न पनवेज्जा तह य कुसीलाणं च - "नमो भगवतीए सुयदेवाए सिज्झउ मे सुयाहिया विज्जा"
- Maha Nishithasūtra, gth adhyaya, II) Jain S., an article on Sarasvatī, op. cit. 209. 56 रोहिणि अंबा तह मंदउण्णया सव्वसंपयसोक्खा। सुयसंतिसुरा काली सिध्दाईया तहा चेव।।
- Haribhadrasūri, Pañcāsaka prakaraņa 57 Pańcāśaka prakaraṇa and tikā. 58 Adyāya 58, pp 223
- Angavijja

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Mantri Vastupāla adored the deity with 108 ślokas in which she is addressed with different names. One stavana “Siddha Sārasvata stavana”59 composed by Sadhvi Śivācāryā whose period is not known. Jinaprabhasūri had also composed a prayer singing her glory in 17 Gathas. He adored Devī Vāk to protect the devotees from all obstacles. The "Sūri mantra Ārādhanāvidhi' of Jinaprabha has described her form along with other mantras. In Abhidhāna Rājendra-Kośa, Śruta-devatā is explained as Sruta stands for Pravacana where presiding deity is Srutadevatā. To comprehend the deity Śrutadevatā a Gatha from Pañcasamgrah is preseñted by Rajendra Sūri60.
4.20 The comparison of the three images of deities with their
inscriptions: Here three images of deities available from Kankālī Tīlā are compared, Sarasvati (J. 24 LM. fig. 32), Āryāvati (fig. 33) and Vidyā (fig. 100). The last two of them have inscriptions invoking with the words ‘Namo Arhato Vadhamānas and Siddham' respectively so these both and inclusive of Sarasvatī, all three are of Jaina pantheon without any doubts. The deities Āryāvatī and Vidyā stand in similar position. One of their arms is in varada and the second is resting on their respective waists. Āryāvati's Ayāgapatta is donated by Amohini for the adoration, established in Kșatrapa period prior to Kuşāņa era, the second is of Kanha Śramaņa where name Vidyā is chiselled near her (deity's) face. Though on both sculptures the word Āyāgapatta or Silāpatta do not occur but the characteristics of them are matched. Here we shall discuss whether both these deities represent the same Suyadevayā Sarasavati cult or not? Up till now it was difficult to recognise the deity Āryāvatī as there is not much mention of her in the scriptures. The name Āryā / Ajjā is referred by Vijayendra Suri in his book 'Tirthankar Mahavira'. Here author has given a list of 10 deities from Nayadhamma-kahao - Indra, Skanda, Rudra, Śiva, Vaisramana, Naga, Bhuta, Yakşa, Ajja and Kotakiriya. He even quoted from Bhagavatī-sūtra that the
59 Jain S., article on Sarasvati.., op.cit. 200-210. 60 Gagas, muita er
तेसिं खवेउ सययं, जेसिं सुयसायरे भत्ती ।।
- 31747911
5010

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Gautom Svami is requested to bow-down to some of the deities while passing their shrines which included Aryā / Ajjā too (pp. 346, 347). The above Āyāgapatta of Āryāvatī and Kanha Śramaņa-Vidyā inform us that they were recognised as a subject of worship as a deity. The deity Āryāvatī first appeared in Kșatrapa period and later on a separate cult of her worship is established in Jainism. Above mentioned three sculptures with their full detail are given below.
The Sarasvatī's first image established in the year 54 of Kuşāņa period provides much information of her separate cult of worship. The inscription (LL. 54) on the pedestal is “Siddham! In the year 54, in the 4th month of winter, on the 10th day one image of Sarasvatī, the gift of the goldsmith Govā, son of Simha (made) at the instance of the Vācaka (preacher) Ārya-Deva, the Sraddhacaro of the Ganin Ācārya Māghahasti, the disciple of the preacher Arya Hastahasti (or Nāgahasti) from the Kottiya gaña, the Sthāniya kula, the Vaira śākhā and the Śrigraha Sambhogas has been setup at Ranga mandapa for the welfare of all beings.” The second sculpture is established by Amohini for worshiping the deity Aryāvatī, this is the oldest available inscribed sculpture from Kankālī Tīlā. In this Āyāgapatta, Āryāvatī is standing in a centre. One cavardhāri lady is standing to her left while a woman on her right holds a parasol and another flower garland. One devotee is standing near her feet. The Āyāgapatta is decorated with beautiful vandanvāra like Bhārhut sculptures. Now in the third sculpture of Kanha Sramana the deity Vidyā is standing in varada mudrā. The deity has turned her dupattā around her left hand in very stylistic manner like Āryāvatī. This sculpture of Kanha Áramana is in two registers, the upper contains a stūpa in between the two pairs of Tīrthankaras wearing crowns. The lower larger register has a depiction of a deity as described above with the name Vidyā, the Jaina Śramaņa holds a rajoharana & a mukhavastrikā, a Śrāvaka with canopy, one lady ascetic with rajoharana & two women devotees are standing with folded hands. In both sculptures only devotees are standing with folded hands but not the monks. A female ascetic is also shown not adoring any deities, but only Jinas. Here ‘Vidyā' is engraved near the deity while “Kaņha' is near śramaņa showing that he is Arya Kanha.

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On seeing these deities, one question arises, are these three deities Āryavati, Vidya and Sarasvati are synonyms leading to one cult of Sarasvati or of different goddesses?
This query could be justified with 'Sarasvati Stotra'61 with her figures forms, attributes, and twelve synonyms - 1. Mahāvidyā, 2. Mahāvāni, 3. Mahābhārati, 4. Āryā, 5. Sarasvatī, 6. Brāhmī, 7.Mahādhenu, 8. Vedagarbhā, 9. Iśvari, 10, Mahālaksmī, 11. Mahākāli, 12. MahāSarasvati.
129
From above Stotra it appears that in ancient times Sarasvati was known by above twelve forms comprising Vidya (Mahavidyā) and Āryāvati (Arya). Besides, many Prakrita stotras are in Arya Chanda so one can say that the Arya was related with right knowledge i.e. Śruta / Jinawāni so synonyms of Sarasvatī is Suyadevaya. All these theories lead us to conclude that two deities Āryāvati and Vidya carved on Ayagapaṭas (fig. 33, 100) available in blessing mudrā from K. T. are the forms of Sarasvati.
4.21 The popularity of Deity:
The veneration of Sarasvati in Jainism is a continuing system from earlier period. Plenty of images of her are available in different variety like two, four and ten arms installed in many shrines throughout the country by both traditions. Even her elegant images enhance the beauty
61 अथ द्वादश सरस्वती स्वरुपाणि (देवतामूर्ति प्रकरणम् )
एकवक्त्रा: चतुर्भुजा मुकुटेन विराजिताः
प्रभामंडलसंयुक्ताः कुंडलान्वितशेखराः ।। १ ।। इति सरस्वती लक्षणानि अक्ष पद्म वीणा पुस्तककैर्महाविद्या प्रकीर्तिता । इति महाविद्या १ अक्ष पुस्तक वीणा पद्म: महावाणी च नामतः । इति महावाणी २ वराक्षां पद्मपुस्तके शुभावहा च भारती । इति भारती ३ वराक्षपद्म पुस्तकैः सरस्वती प्रकीर्तिता ।। ३ ।। इति सरस्वती ४ वराक्षं पुस्तकं पद्मं आर्यानाम प्रकीर्तिता ।। इत्यार्या ५
वर पुस्तकपद्माक्ष- ब्राह्मी नाम सुखावहा ।। ६ ।। इति ब्राह्मी ६ वर पद्म वीणा पुस्तकैः महाधेनुश्च नामतः । इति महाधेनुः ७ वरं च पुस्तकं वीणा वेदगर्भा तथाम्बुजम् ।। ५ ।। इति वेदगर्भा ८ अक्षं तथाऽभयं पद्मपुस्तकैरीश्वरी भवेत् ।। इति ईश्वरी ९
अक्षं पद्मं वरग्रंथौ महालक्ष्मोस्तु धारिणी ।। इति महालक्ष्मी १० अक्षं पद्मं पुस्तकं च महाकाल्या वरं तथा । इति महाकाली ११ अक्षं पुस्तकं वीणाश्च पद्मं महासरस्वती ।। ७ इति महासरस्वती १२ इति द्वादश सरस्वतीस्वरुपाणि ( जयमते)
by Pranava Shankara Sompura Dwadasa Sarasvati Swarupāni, from Devata Murti Prakaranam of 'Bharatiya Silpa Samhita'.

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of various museums in India and abroad. The bronze image of Sarsvati at Pindwada - Rajasthan was brought from Vasant gadha along with a hoard of Jina images. The deity is standing on lotus holding the roll of manuscript with left arm and lotus with right. Her oblong nimbus is simple but crown is typical contain some representation may be the sun. Her lower garment is very thinly and neatly chiselled. The two water jars with coconut on top are placed on each side of the seat of the deity where she is standing. This is the best specimen of early Western Indian School. Another metal image of the same period is from Ākotā now in Baroda museum. She holds a roll of manuscript and lotus stalk in hands. The Ākoţā bronzes were established on the request by Kşamāśramaņa Jinabhadra. They are of transitional period between Gupta and early medieval. One metal image from Murtajāpur, now in central museum Nagpur has a carving of Jina above her head. She holds a roll of manuscript in left arm and pointed object in right. The goddess is sitting in lalitāsana on a lotus seat. The four and more armed variety of Sarsvatī image are available from 10th century onwards viz. - Vimalavasahi temple, Abu in 1031 A.D. having sixteen arms. Digambara Jain temple, Surat in 1167 A.D. having four arms. Umatā Visanagar Gujarat in 1180 A.D. with four arms. Bikaner Pallu now in National museum Delhi is of same period with four arms. An ancient Digambara temple at Lādanun also has a beautiful Sarasvati image with four arms of 11th century (fig. 104). In the same temple two more sculptures contain depiction of Sixteen Vidyādevī and a river goddess, that are also very beautiful; assigned to same period. These are very good examples of separate adoration of deity Sarasvatī. The power of deity is also concentrated in the yantras by ācāryas for providing benefits to adorants. Her painting on palm leaf or on wooden covering of manuscripts could be seen in many grantha bhandāras at Pātan, Amadāvād, Chāņi near Baroda etc. She is invoked to reduce knowledge obscuring Karma and to reduce all miseries. One Sarswati image established in rangamandapa at Keshariyaji is of medieval period (fig. 61).

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The other Excavated Artefacts of Mathurā
Mathurā contributes a series of artefacts unearthed from Kankālī Tīlā, comprising of images, āyāgapatas, railing pillars. śālabhañjikās, door lintels, door jambs, toranas, ornamental bosses, blocks narrating life incidents of Jinas, etc.
5.1 Ayāgapaļas:
The superbly carved āyāgapațas represent Jaina symbols and philosophy illustrating the ancient system of adoration. In total 27 āyāgapațas were found from Mathurā, inclusive of one each from Kosam and Ahicchatrā similar to those from Kankālī Tīlā. On palaeographic and aesthetic ground most of them are accredited from early Kșatrapa to late Sakal (Kuşāņa) year. They carried inscriptions of donors in Prakrit language and Brāhmi script serving information of the date of establishment with other details. The word Āyāgapața or Silāpata is provided in the inscription itself. Since such sculptures were put up in shrines for the worship of Arhats, Dr. Buhler furnished the word 'Ayāgapata' as 'a tablet of homage or tablet of worship’2. Dr. Agrawal V. S. noted about this as follows: “It appears that in the domain of Indian art the Āyāgapatta as an item in the repertorie of religious devotees was peculiar to the early Jainas... From the point of view of art, the Ayāgapattas from Mathurā rank amongst some of the most beautiful specimens of the Mathurā school of sculpture. They are exceedingly well conceived and the composition adequately conveys the meaning of the symbolism they seek to represent. The grouping of the static and moving figures and of the arrangement of the religious symbols produces a fine harmonious effect. The Tīrthankara figure seated in the central circle in meditation, symbolises as it were the bedrock on which Jaina metaphysics bases its conception of world creation. The Arhat figure predominates the whole group, everything else, viz., the Triratnas, the Svastika and the other symbols stand fixed in relation to it and revolve round it. An ideal harmony of the static and dynamic aspects of creation seems to have been achieved in art on these Āyāgapațțas”3. He also remarked that they were installed on high platform in stūpa premises and adored from distance as they do not show any sign of wear and tear caused by direct and constant use
1. 2 3
V.K. Sharma, Reconstruction... 2002, pp 174. Ep. Ind. Vol. II, pp. 314. Agrawala V. S., “Mathurā Āyagapata', in J.U.P.H.S., vol. XVI, pp. 59-60 and pls. I-II.

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for centuries together4. Thus here Jaina philosophy is well explained in sculptures by showing Siddha or Arhat at highest central position and Jivas in the transitional world from where they have to reach siddhasthana/mokṣa. The Āyāgapata is the union of two words āyāga and pața where āyāga stands for sacred as we have seen, and pața for a slab made of stone, cloth, clay or any such material which can either depict or paint. The said word Āyāka or Āyāga is derived from ‘Āryāka' stands for honourable or worthy of reverence and were more popular at Mathurā with Jaina community fixed at low height in or around the shrines. The carving of sacred symbols and Jinas made them 'Āryāka' - worthy of reverence. Therefore it came to be valued as a tablet of homage adopting the local name Ayāgapața. The 'Āyāka' word is also noticed on three pillars at Jaggay peta, at the site of ancient Buddhist stūpa, excavated by Dr. Burges in 1882. Each has a dedicatory inscription in Prakrit recording the gift of five āyāka khambas at the eastern gate of the great caitya. Here also the word āyāka stands for sacred. At Nāgārjunekondā seventeen inscribed āyāka pillars have come to light, while excavating the site. Dr. Luders, who edited these inscriptions, remarked that such pillars do not appear to have had any structural function as supporting members, but besides carrying well known Buddhist emblems they were utilised for dedicatory inscriptions. He also observed that āyākapatas or āyāka pillars were not the part of the building structure6. Thus āyāka pillars were carrying important inscriptions of donors while āyāgapațas were depicted with marvellous carving and philosophy using the symbols which when
deciphered, convey its message within. 5.2 Āyāgapatas in the Scriptures:
In Angavijjā the author has provided some list of names like parvata (mountain), sagara (occen), medini (earth), caitya (shrine) and āyāga worthy of worship. Joshi N. P. holds that like a caitya, āyāga is also a sacred and venerable place. He supports the above meaning with the passage
4 5
Agrawala V. S., Bhartiya kala, (Varanasi, 1966), pp 280-81. 1) Agrawala V. S., 'Mathurā Āyagapata.', J.U.P.H.S. op.cit. pp 58-59. II) Ep. I. Vol. XX, pp 2. Luders, Ep. I., vol xx pp 2, Joshi N. P., article “Early Jaina Icons from Mathurā” pp 333, in, 'The cultural Heritage' ed., Doris & Shrinivasan, AIIS, 1989.
6 7

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from Valmiki Rāmāyana- “The bow in the house of king Janaka had become an āyāga (āyāga bhutam) or an object of veneration and received incense, sandal paste, and other fragrant objects as offering”8. In Vasudeva-hindi, Aupapātika-sūtra and its Tika by Abhayadevasūri the word Sumanasila or Pudhavi-silāpata used to describe worship of Sumana Yaksa under an Asoka-vřkşa'.
5.3
The Classification of Āyāgapaļas: To grasp their deep coherence, āyāgapatas are classified into three categories -
A. For the worship of sacred shrines, B. For the adoration of Jinas, deities and symbols, and
C. To grasp the philosophy at a glance. A. The first group includes the carving of holy shrines on the said
sculpture. The two Āyāgapatas10 offer the depiction of stūpa for adoration as sacred shrines. In the Āyāgapaţa of Lonaśobhikā (fig. 41) the stūpa is flanked by Jaina monks at the top where they are saluting it with their right hands. One inscribed fragment of the same shows a stūpa in a central medallionll. The Ayāgapata of Sivayasa (fig. 109) comprises of a beautiful stūpa as the main theme for adoration. Besides, in the sculpture of Kaņha Śramaņa (fig. 100), the stūpa is flanked by two Jinas in upper register, strengthened the
system of veneration of Jinas and stūpa at Mathurā. B. In the second group, a Jina is shown sitting, under the caitya-vrkșa at
the centre, sometimes flanked by flywhisk holders or by ganadharas. Yakşa-yaksis are shown in the outer ring carrying flowers or garlands or keeping hands folded or supporting the wheel at corners. Here four corners are excluded for momentous carving while sides are given a room for auspicious objects. The half fraction of an Āyāgapata (48.3426 MM. fig. 105) is a very good example of symbol worship. Here a caitya tree, śrīvatsa, and three jewels are honoured and adored by establishing them individually on the thrones in the outer ring.
8 Joshi N. P., article "Early Jaina Icons from Mathurā”, 1989 pp 333. 9 Shah U. P., Studies in Jaina art, (Banaras, 1955), pp 68, 69. 10 Accn. nos. Q 2 MM. and J. 255 LM. 11 Accn.no. 20.21.1603 M.M. Catalogue of Jaina antiquities, (Mathurā, Govern. Museum,
2003) pl. 20.

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The Āyāgapața of deity Āryāvati12 (fig. 33) set up by Amohini for veneration is assigned to Mahāksatrapa Sodāsa's period. Another deity Vidyā is adored on the Āyāgapața of Kanha Áramaņa, displaying her like Āryāvati, but with a sādhu named kanha, a sādhvi and female
devotees (fig. 100). C. The third group constitutes a carving of religious themes like the
wheel, svastika etc. (fig. 108, 107). Here empty space is utilised to provide aesthetic perfection and adornment with auspicious symbols arranged in a row. The motif svastika is used to symbolise four states of living beings. They could reach moksa with the help of three jewels. Here four pairs of nandipādas are caved along with the common circle of Jina forming three jewels. All the inscriptions on āyāgapațas commence with the adoration to Arhats (Namo Arahantānam). Such pattas of sacred places like Śatruñjay, Rānakapur, Giranār etc. could be seen at the eye level on the walls in present Jaina shrines. They might be the changed form of āyāgapatas as they are carved only for seeing (darśana) purpose i.e. to adore without any offerings. Besides they are not part of the building structure. At Bulsar in Gujarat the word (fig. 123) is used in the inscriptions for the sacred patas on walls
by Sompura artist. 5.4 The description of some of the Āyāgapațas (1 to 22) :
1) Amohini's Āyāgapata for veneration of deity Aryāvati (fig. 33):
Here the deity Āryāvati is depicted with three women attendants and a child. One lady standing next to her is holding a parasol over her head. A second lady holds a flywhisk while third is carrying garland. A child is standing with folded hands near her feet. Beautiful flower garlands (vandanvāras) are hanging on top of the Āyāgapata showing the Indian practice of decoration and ornamentation in shrines. The pillars on both sides have lions on the top, though one is mutilated but carved in such a way that it blesses the devotees.
word Silāpata
12 Accn. no. J. 1 LM.

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2) Famous Āyāgapața of Loņaśobhikāl3 (fig. 41) :
This Ayāgapata was first recognised by Bhagawanalal Indraji Bhatt, who published its rough sketch in a journal with translation of its epigraph. Unfortunately he died in 1888 without mentioning its exact location in Mathurā. A photograph of the same is published in the book 14 where the Āyāgapata was shown with Śālabhañjikā on each side. Later on it was searched by Pandit Radha Krisna in the well of a small Linga shrine, Mukund Kuva (well) outside the Holi gate in April 190815 with Śālabhañjikās (J 63 and J 64 MM) flanked the same. This Āyāgapața covers a carving of a complete stūpa with all details, setup by Vasu, the daughter of Loņaśobhikā. Here the inscription is engraved between the two vedikās. The stūpa is surrounded by a railing while the entrance has beautiful ornamental toraṇa over the flights of the steps. The stūpa dome is flanked by two pillars, one on the right carrying a wheel, while the other has a lion on the top. It has three pairs of worshippers on either side. The first pair of adorants represent Jaina munis showing their ability of flying, as they are shown with legs kept upward. They carry a piece of cloth and alms bowl in left hand, while right hand is raised to forehead for saluting the stūpa. The second pair with bird tail and claws recognised as suparnas also known as harpiis in art. The right one carries a bunch of flower and a spray to sprinkle perfume while left one holds a garland. Two Sālabhañjikās are shown leaning in a graceful attitude against the stūpa dome. On each side of the staircase is a niche with a standing figure, whose identity could not be ascertained. The left figure seems to be the protecting deity (may be Kuberā?) as referred in Vvidha-tīrtha-kalpa. At the right side a standing male seems to be a Kșetrapāla with his vehicle dog. The figure is much damaged beyond recognition but likely to be a standing dog with folded front legs and back knees. One very ancient image (prior to Kuşāna period) of Ksetrapāla with Jina on the head
13 Q 2 MM., (ht- 2 ft 4 inch, width 1ft 9.75 in.) : Smith, Jain Stūpa at Mutra-pl. CIII:
Shah, Studies in Jaina Ar, pl. V, fig. 14 B: Luders, Ind. Ant. V. 33 pp 152: Vogel's La
Sculpture de Mathurā, p. 93. pl. vb., Coomarswami, HIIA, pp 72, pl. 19. 14 Smith, Jain Stūpa.. of Mathurā.., 2nd edi. Pl. CIII. 15 I) Ibid, pp. 61. Pl. CIII. II) 'A legend of the Jaina Stūpa at Mathurā' Sitzungaborahte dar Kala Akademia dar
Wissonschin, hand CXXXVII.

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is found from Mathurā in 1961 A.D. (fig. 23) shows the popularity
of such a deity and its separate cult of adoration in Jainism. 3) Āyāgapata set up by Sivayasā (fig. 109, J. 255 LM.) :
This tablet, though partly mutilated gives a better view of Jaina stūpa with adorned gateway. The two railings round the circumambulatory passage, beautiful Sālabhañjikās and two posts flanked the stūpa dome. A large wreath which hangs from the toraņa gateway is flower decoration called 'vandanvara'. It has no niches on either side of the stūpa entrance like the Ayāgapața of Loņaśobhikā. The plain railings as well as the inscription are very archaic type. Vincent Smith suggests about its letters, “Little more archaic than those of Dhanbhuti's inscriptions on the gateway of Bhārhut stūpa, dated in the reign of the Sunga, or about
150 B.C.”16 Buhler also agreed about its archaic character. 4) Āyāgapața of Śivaghoșaka (fig. 106, J. 253 LM.) :
This Ayāgapata represents Pārsvanātha in the centre adored by two standing monks (or ganadharas). He is sitting in padmāsana on a raised dais under a caitya tree. The centre ring is surrounded by a large circle having four pairs of nandipāda. The broad band of the same has a beautiful lotus creeper. The right side is embellished with a wine creeper coming out of a pot displaying the archaic art prior to Kuşāņa era. The four corners are designed vividly. The right lower corner presents a symbol of śrīvatsa, with long lotus leaves. The right upper corner has a pair of swans touching their beaks. The upper left corner has two elephants standing touching their backs. At lower left corner a lion is sitting in its usual manner. The scholars like Vincent Smith and Dr. Buhler assigned this Ayāgapața, a century before the Christian era due to its linguistic and palaeographical
peculiarities and vine border?? 5) Āyāgapața of a Wheel (fig. 108, J. 248 LM.) :
This tablet of homage is gifted by an inhabitant of Mathurā as per the inscription. This is without Jina image at the centre but is surrounded by a sixteen spoke wheel enclosed in another circle containing the band of sixteen three jewels (Tilaka-ratnas). The same is followed
16 Smith, Jain Stūpa..of Mathurā ... preface, 1901. 17 Ibid., pp 17, pl. X.

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by a large circle where eight female divinities are moving holding the garlands with loose drapery over their heads. The rim of this circle is made up of a twisted rope interspersed with rosettes. The whole wheel is supported by suparna dwarfs at corners. The three corners and sides have floral design while fourth corner is broken. The two sides have śrīvatsa and two have tilaka-ratna symbols in middle, which are adored by a couple with human faced mythical lions carrying garland in hands. It displays the powerful influence of Hellenistic art carried down to Mathurā School. Smith V. describes the Hellenistic influence on Ayāgapata as follows: “The artistic deep undercutting of much of the ornament is especially noticeable. It was probably the result of association with the Alexandrian school which delighted in the decoration of panels”. 18 Here the yakṣis are carved carrying garlands for adoring the symbol of three jewels (Right knowledge, Right faith and right conduct) and
a wheel with 16 spokes. 6) Āyāgapața set up by Sihanādika (fig. 110, J. 249 NM. Delhi) :
This tablet is a representation of fine workmanship of Kuşāņa, period. The carving comprises of the illustration of four corners with floral design, eight auspicious-symbols, two side posts having a wheel and an elephant on top and Jina at the centre encircled by four three jewels (nandipāda) groups. The inscription is clearly readable. Both the upper and lower panels have four auspicious symbols each-a pair of fish, heavenly car (or folding mirror?), śrīvatsa, and a powder box as well as three jewels, full blown lotus, bhadrāsana and an auspicious vase respectively. This is the oldest known representation of aștamangalas of Jainas. The side posts are typical Persian Achaemenian style. The family of Simhanādika was
a Vanika as per the inscription. 7) Āyāgapața set up by the wife of Bhadranandi 19 (fig. 111, J. 252
LM.) : This tablet is cracked from the right corner, but represents one of the best geometrical diagrams. At the centre a Jina is sitting under
18 Smith, Jaina Stūpa..of Mathurā, preface, pp-5. 19 I) Shah U.P., SJA, fig. 10.,
II) Smith V., Jaina Stūpa.. of Mathurā, pl XI, pp 18.

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a sacred tree (caitya-vřkşa). A central circle covering the Jina is common as usual, to form three jewels with the help of nandipāda. The gap between these nandipādas are adorned with śrīvatsa at four corners to enhance the charm. The top of the side massive posts are depicted with a wheel and a lion respectively. Here the right corner is specially provided a room for an auspicious object conch. The upper panel has five auspicious symbols - śrīvatsa, (with a ring in upper part), svastika with closed petals, vardhamānaka, lotus buds and an unidentified object, while the lower is filled with eight auspicious objects viz. the first is beyond recognition, svastika, lotus, a pair of fish touching at their mouths, a kalaśa with a handle, a pot filled with jewels, bhadrāsana and three jewels. Thus in this Āyāgapața
one can view 14 auspicious symbols. 8) Āyāgapața of Svastika (fig. 107, J. 250 LM.) :
The Āyāgapața of an unknown donor, (size 3ft x 2.8ft) has the main carving of ornamental svastika enclosed with a circular broad band comprising with a deity, a caitya tree with railing, a stūpa, and an unidentified object at equal distance. Here between the bands, twelve flying worshippers are shown adoring the symbols as mentioned. They create some specific designs with the movements of their upper linens and garlands. The auspicious symbols - a pair of fish, śrīvatsa, usual svastika and a bhadrāsana are embodied in centre's enormous ornamental svastika. At the centre a Jina sitting in a padmāsana under a caitya tree surrounded by four nandipādas (tri-ratna with a circle). This involves the tenets of Jainism like the soul (jiva) is moving in four states and with the help of Right knowledge, Right perception, and Right conduct it could attain mokṣa.20 The extreme lower side of the tablet is occupied with eight auspicious symbols - lotus bud (as seen in the Āyāgapața of Bhadranandi) water jar with handle, lotus flower, three jewels, śrīvatsa, a pair of fish and a mirror image of svastika. The centre part, between the eight symbols has a highly defaced inscription. Here the artistic svastika is carved having hands, like a tail of fish. The adorned bhadrāsana, a pair of fish, śrīvatsa and svastika between the hands adding charm to the Āyāgapata. yakşa-yakși pairs are supporting the wheel at four corners.
20 Right knowledge Right perception and Right conduct together lead to salvation.
- Tattvartha sūtra.

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9) Āyāgapata from Bareli/Ahicchatra21 (J. 686 LM.) :
This Āyāgapata comprises with a grape creeper running on its four
sides. The centre part is empty beyond recognition. 10) Āyāgapata with symbols and Jina worship: (fig. 105, 48. 3426
MM.) This beautiful half portion of Āyāgapata which was almost square, is a very good example of auspicious symbols and Jina worship. It is divided into four parts with three hemispheres. In the inner most circle, Jina with uşnişa on head, is seated in meditation. He is flanked by two figures - on his right a male devotee standing with folded hands while on the left a female holding a flywhisk (cavara). There is a parasol above his head. The middle semicircle band has a pattern of two pairs of alligators facing their jaws which are made in such attitude that as if, they are holding lotus flowers to create a symmetrical design. The third semicircle band has three veneration symbols - triratna, caityavşksa and śrīvatsa established on the thrones to the left, right and upper side of the Āyāgapața. Between three symbols two divine couples are shown adoring them with folded hands and garlands. The toes of couples are joined to create a pleasing geometrical design. At two corners a yakṣa and a yakși are supporting the whole divine semicircles. On many āyāgapațas garlands and draperies are given importance to enhance the art value. Artists are given free hand to carve the empty space with flowers.
Some fragments of Āyāgapaļas: 11) Āyāgapata, accn. no. Q 3 MM. or 15.569:
This fragment is found in 1915 A.D. It shows a vine creeper on border with bunch of grapes. It has winged lions on pillars with elephant top. The inscription at back, written in square fashion, does not show any sign of being reused. In Jainism very often inscriptions
are written on back of images (J.25 LM., J.113LM.) 12)āyāgapata, accn. no. J.260 LM.:
This fragment of an Āyāgapața comprises with auspicious objects on its sides.
21 Rastogi, Lucknow Jaina Pratimaen...., pl. no. 4, fig. 3.

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13) Ayāgapata accn. no. J.247, Shimla Museum:
The fragment has winged lions depicted on sides having a part of
svastika. 14) Āyāgapata, accn. no. 35.2563:
A fragment contains floral svastika in the central part, with simple
sides having flower in a corner. 15)Āyāgapața, accn. no. 20.21.1603 MM:
This inscribed fragment has a stūpa in the central part covered with a parasol and outer ring. Here Jina is carved above the outer ring flanked with three jewel symbols with simple śrīvatsa on top. The inscription on top border reads- "Vihāre Kottiyāto gaņāto thānikiyāto
kulā (to) sā (khāto)”22 16) Āyāgapața of Bhadrāsana (fig. 113. J.256 LM.) :
The slab was found in 1887 by Burges from K. T, The inscription is in archaic characters anterior to Kuşāņa, as suggested by V. Smith23. Here auspicious object bhadrāsana is worshipped with a fish in the
centre, the inscription is engraved on left side “... Gotiputra..”. 17) Āyāgapața, 24 accn.no. 33.2313 MM.
The available fragment of an Ayāgapata carved on obverse too with
a Ashoka foliage and an inscription (silapato Arhato pu...) 18) A quarter fragment of an Āyāgapața:
It is in Francis Hopp Museum, Budapest. Here a Jina is sitting, under a parasol, besides there is no śrīvatsa mark on his chest. The three auspicious symbols śrīvatsa, Vardhamāna.ka and triratna could
be easily recognized. 19) An inscribed fragment of an Āyāgapața:
The outer border containing a conch, bull, winged lion, elephant
etc., now in Patnā Museum. 20) Fragment of an Āyāgapata J.262 LM. :
Here a side is decorated with auspicious objects bhadrāsana, triratna and śrīvatsa with floral design at the centre.
22 Catelogue of Jaina Antiqity of Mathurā, (Government Museum, Mathurā, 2003). pp. 68,
pl. 20. 23 Smith V., Jaina Stūpa.. of Mathurā..... 1900, pp 20, pl XIII 24 Catalogue of Jaina Antiquity of Mathurā, 2003, op.cit., pp 69.

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21) Āyāgapața accn. no. J.264 LM.
This is a fragment of svastika. Its outer ring holds the adorant yaksis
same as in the Āyāgapața of svastika. 22) Āyāgapața accn. no. J. 254 LM.
It has a record of installation of Vardhamāna pratimā.
23) Ayāgapata accn. no. J.618 LM.:
This fragment shows sankha-nidhi and winged animal.
5.5
Railing Pillars: The railing pillars with female figures of Mathurā School are most cheerful, elegant and charming depicting day to day life activities of Indian female. The explorations at K. T. Mathurā, in the year 1888 to 1891 in three seasons resulted in the great bulk of Jaina antiquities including railing pillars. On the basis of palaeography and style of art motifs, scholars agreed that the rail posts and toraṇas belonged to two Jain stūpas, one existed in early Sunga age and another was present in Kuşāņa period, survived till destroyed by the invader. The very rich art specimens of railings are analysed by art historians and opined that the School of Mathurā is more related to Bhārhut than to Sāñchi recognised by some fragmentary-sculptures of the second century B.C.25. Though not a single complete stūpa was found at Mathurā but from the available toranas, and railing pillars at Mathurā one can judge that they were Jaina and Buddhist stūpa enclosures. The railing with its various components was the main object of early Indian art for demonstrating both architectural grandeur and figural carving. The embellished stupendous railings round the Buddhist stūpas of Bhārhut, Sāñchi (stūpa II) and Bodhagayā and at Jaina stūpa at Mathurā (Kankāli Tilā) are the fine example of the art26. The female figures carved on the railing pillars are the finest creations of the Mathurā School, displayed in very attractive and joyous attitudes without any hint of sensuous narration or degraded in the name of art. The upright pillars with female figures are sometimes joined together by three cross bars inserted in the mortises cut into the same & held on top and at bottom, by stones (fig. 132). They are 4.5 ft high adorned
25 Coomarswami, HIIA, (London, 1927), pp 37 26 P.K. Agrawal, Mathurā Railing..., 1966., pp 2

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5.6
with an excellent female figure in front, standing sometimes on a dwarf. At the back the carving include either a narrative or a full blown lotus. Most of them are carved with upper register where a window (zarokhā) is displayed. These women introduced as sālabhañjikās in scriptures, wearing lavish jewellery viz. broad necklace, bead belt, bangles, anklets and designer clothes. One can see their vivid hair styles - a combed hair with high bun, binding the hair with a band keeping one lock floating on a shoulder etc. The dresses of the female include a mini or a maxi skirt or full dress - viz. one female figure obtained from Kaňkālī Tīlā wears long skirt having twelve different embroideries, with fine cut work, and a full sleeved blouse (fig. 8). The Concept of Śalabhañjikā: The Śālabhañjikā female figures are the finest creation of Indian art available in Jaina, Buddha and Hindu scriptures and shrines. These figures displayed on inner and outer side walls as well as on the ceilings of shrines serve the best specimen of Indian art. They first appeared on railing pillars at entrances and toraņas of stūpa. Such representation of females, full of zest for life where they are shown engaged in their favourite routine work, like going to adore deities with a basket of flowers and offerings (fig. 7), playing a ball (see the drawing), plucking the flowers from the tree (fig. 114), seeing herself in mirror (fig. 5), squeezing her hair after bath where droplets are swallowed by a swan sitting near her feet (fig. 6) etc. are the best product of Mathurā art.
5.7
Definition: As per Sanskrit lexicon the meaning of Sālabhañjikā is 'a statue' or 'a putali’. The term Śālabhañjikā originally expressed a woman standing under a blossoming Sāla tree for plucking and gathering Sāla flowers (Votica Robusta, fig. 114). Thus 'Sāla' stands for a branch of the tree while 'bhanjikā' stands for her act of bending it. Dr. Coomarswami analysed the term Sālabhañjikās (from Bhārhut, Bodhagayā, Sāñci, Mathurā and Amaravati) and interpreted that female figures associated with trees are voluptuous beauties, almost nude, but always provided with the broad jewelled belt (mekhalā) which appears already on the pre Maurya terracotta figures of fertility goddesses. Sometimes these dryads stand on a vehicle such as a yakşa, elephant, crocodile, or fish-tailed elephant or horse.27 In some cases they are not displayed on animals but under the tree holding
27 Coomarswami A. K., Yaksas, parts I-II, Washington, 1928, 1931, pp.83.

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the branch or simply shown with creeper over them, they are related to Bhārhut so likely to go back to 2nd century B.C.
5.8
Scriptural References: The reference of carving a pair of female figures on either side of the entrance of a shrine is available in Rgveda28. The term Śālbhanjikā described in Buddhist literature 29 as the women plucking or gathering flowers at the festivals. Śālabhañjikā in Rayapaseņiyam-sūtra: According to Rayapaseniyam-sūtra, the doors of the vimāna of Suryābhadeva is flanked with sixteen Śālabhañjikās standing in varied graceful postures on railings attracting every one with their different modes. They were portrayed in various creative displays, colourful dresses, heavy jewellery, beautiful ornamentation, necklaces of various designs having slender waist, round prominent breasts, red cornered eyes and black curly hair. They stand under Asoka trees and hold its extended branch stealing the hearts of even gods as they were with their rolling glances and teasing as they were with play of their eyes.30 Prof. V.S.Agrawala noticed the reference of Salabhanjikas in Raypasaniyamsūtra, he compares them with railings and toranas of stūpa at Mathurā, Bhārhut, Bodhagayā and Sāñchi. Prof. comments: “That the beauty of the female figures was noticed in ancient India showing that the art connoisseurs were conscious about the fact of feminine beauty which has made the Kusāna Art of Mathurā such a loving subject in the eyes of modern critics31.”
28 Rgveda (IX. 5.5). 29 Nidānkathā and Avadānsataka no. 53. 30 D तेसि णं दाराणं उभओ पासे दुहओ णिसीहियाए सोलस सोलस सालभंजियापरिवाडीओ पन्नत्ताओ,
ताओ णं सालभंजियाओ लीलट्ठियाओ, सुपइट्ठियाओ, सुअलंकियाओ, णाणाविहरागवसणाओ, णाणामल्लपिणद्धाओ, मुट्ठिगिज्झसुमज्झाओ, आमेलगजमलजुयल - वट्टिय-अब्भुन्नय पीणरइयसंठियपी वरपओहराओ, रत्तावंगाओ, असियकेसीओ, मिउविसयपसत्थ - लक्खणसंवेल्लियग्ग- सिरयाओ ईसिं असोगवरपायवसमुट्ठियाओ वामहत्थग्गहियग्गसालाओ ईसिं अद्धच्छिकडक्खचिट्ठिएणं लूसमाणीओ विव चक्खुल्लोयणलेसेहि य अन्नमन्नं खिज्जमाणीओ विव पुढविपरिणामाओ, सासयभावमुवगयाओ, चन्दाण णाओ,चन्दविलासिणीओ, चन्दद्धसमणिडालाओ, चंदाहियसोमदंसणाओ, उक्का विव उज्जोवेमाणाओ, वि ज्जुघणमिरियसूरदिप्पंततेयअहिययरसन्निकासाओ सिंगारागारचारुवेसाओ पासाइयाओ जाव (दरिसणिज्जाओ अभिरूवाओ पडिरूवाओ) चिट्ठति।
- Gatha, 126, Raypaseniyasutta, pp 66-67. II) Agrawal P. k., Mathurā Railing Pillars. 1966., pp. 6. 31 Agrawal P. K., ibid., pp 6.

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5.9
Elucidation: The Śālabhañjikā woman displayed under the tree is usually Asoka, Mango or Sāla, where she sometimes holds the branch of a tree with left hand. In the two different sculptures from Bhārhut she is presented as a creeper by putting her one leg around the stem and holding the branch32 Dr. Vogel elucidated this term after studying many literature and sculptures“The word Śālabhañjikā originally denoted not only the festival of Śāla flower gathering but also the woman who took part in it. Such figures which are first met with on the toraņas of the Stupas of Bhārhut, are especially frequent on the railing pillars of Mathurā. May we not assume that to these pillar figures the term Śālabhañjikā was applied? It is true that the trees under which these figures are placed, do not appear to be invariably meant to render the Sāla tree. But it is quite natural that the Śālabhañjikā, the women breaking the Sāla bough'... was adopted as a technical term to designate in general any carving of a female seizing the branch of a tree. Gradually, as the etymological meaning of the word was no longer remembered, the use of the word was still further extended and it was applied to any female image carved on a pillar”. 33 Later on a more technical significance is used for Śālabhañjikā for a sportive woman who engaged herself in various pastime as shown in the art. On the railing pillars at Mathurā, the women were carved engaged in their routine activities by the carvers. On the two Āyāgapațas setup by Loņaśobhikā and Sivayasā, sālabhañjikās are shown taking support of the stūpa dome in dancing attitude at the entrance appear to be very live delicate and gorgeous. One of the railing pillar, shows the woman34 carries a mace in left hand and standing under a tree on a narrow pedestal where a lion is carved on both sides. With her right hand finger she is pointing to the bunch of a fruit of the tree. The lions beneath the seat suggests her vehicle
32 Nihar Ranjan Ray, Maurya and Sunga art....., fig. 21, 22. 33 I) Vogel, 'The woman -and- Tree or Sālabhanjikā in Indian Literature & Art". Acta
Orientalia, vol.-VII, pp. 201- 231. II) P.K.Agrawal - Mathurā Railing Pillars.., 1966, pp. 10-11. 34 Smith, Jaina Stūpa ...of Mathurā... Pl. LXII.

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not the lion throne as she is standing. The back carving of two full and two half blown lotuses is symbolizing her divine status. Another rail post35 (fig. 103) displays a female, standing under a tree on a dwarf holding a sword with lotus carving at back, advocates her divinity. As per Vividha-tīrtha-kalpa a deity Kuberā who was 'Naravāhana' (the man as a mount) guarded the stūpa. Another railing pillar36 has similar type of carving therefore they might be the guardians of stūpa.
5.10 The adopted Theme of Śālabhañjikā in Sculptures:
Some of the best śālabhañjikās excavated from Mathurā expose the positive side of woman delicacy like - A female playing a harp instrument, lighting a lamp, drying her hair, holding a lamp (fig. 8), throwing a ball with twisted hand, etc. In the southern India beautiful Sālabhañjikā figures are available on the
entrance of gopurams and side walls of the shrines. 5.11 Evolution of śālabhañjikā:
The motif of Śālabhañjikās i.e. upright pillars nearly four feet in height, of early Indian Schools has its root in local festival since ancient times. From there it arrived in scriptures and stone sculptures of stūpa railings, toraņas and shrines. The description of yāna-vimāna of Suryābhadeva is amazing. At the centre of the yāna one huge Preksāgrha was prepared, where the door is flanked by sixteen upright pillars with the depiction of Sālabhañjikā females. The symbolic representation of them at the entrance of the stūpa is available on two Ayāgapatas (fig. 41, 109.). Later on the theme of Sālabhañjikā, woman embellished the railings and gateways got reduced in usage and became less important. Afterwards they have been given a place at the ceiling of mandapas and doorjamb of śringāra-cokis in Jaina shrines. At many places they were not projected as religious symbols but stood only as the graphic account of the contemporary woman life in routine.
5.12 Comparison of Stūpa with Yāna in Rayapaseniyam-sūtra:
If one excludes the imaginary measurement of length and breadth of Yāna-vimāna of Suryābhdeva in Rayapaseniyam sūtra, it appears to be
35 Smith, Jaina Stūpa ...of Mathurā.., pl. LXI 36 Ibid, pl. LX

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the model of a stūpa at Mathurā. Art specimens obtained from Kankālī Tīlā looked similar to objects of adornment in the main hall (Preksāgrha)
d outer wall of the Yāna-vimāna of Suryābhdeva. This second Upānga (Agama-sūtra) describes the minutest detail of constructing the centre part of vimāna - prekṣāgriha of yāna. It is in two parts. The first part of the sūtra, is the story of Suryabhadeva who arrived at Amalakappā city in his yāna to adore Mahāvīra. The second part covers the conversation between king Pradesi and Kesi śramaņa of Pārsvanātha tradition. King Pradesi37 was under the sovereignty of king Prasenajit. He was believing in only on purity of mind and not in rituals. He was curious to know the difference between soul and body which was satisfactory answered by the ascetic Kesi. After the death, in the next birth king Pradesi became Suryābhadeva at-Saudharma-devaloka. When Suryabhādeva, with his clairvoyance knowledge came to know that Mahāvīra arrived at Ambaśāla caitya in the outskirt of Amalakappā city, he adored the Jina from his abode in Saudharma devaloka heaven and ordered his subordinates to prepare an artistic yāna vimāna to reach at the resting place of Mahāvīra. The given narration of vimāna is most wonderful and incomparable example of a building structure. Dr. Shah U. P. noted, “The same heavenly car i.e. yāna vimāna is the eyewitness account of the Jaina stūpa existed during Kuşāņa period as suggested by some scholars”38. The yāna was made ready by assistant deities as instructed by Suryābhadeva. They formed three flights of stairs in three directions east south and north39. The steps and supporting rods were encrusted with silver, gold and precious emeralds. Each stair case was decorated with attractive toranas which has been described widely in the sutra. Accordingly, doors were adorned with Aștmangalas, sparkling precious stones, colourful flags, couple of bells (with white, yellow and red colour), lotus bunches having different petals studed with costly gems,
37 Digganikaya - 2/10 38 U.P. Shah - SJA pp 129. 39 Rayapasaniya sutta, Gatha 22.23, pp 24-25.

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pearls, etc.40 Even the decorated Toranas were tied at fixed intervals. Such type of decoration is obtained from the railings, pillars and capitals from Kankāli Tilā41. Suryabhādeva commanded to create a vimāna having many posts and the attractive carving of Salbhañjikā, Ihāmrga, bull,
man, alligator, bird, snake, celestial beings, variety of antelopes, cow, elephant, creeper etc. on outer wall of the Yāna. The upper parts of the rail posts were engraved with vedikās (railings or balconies) where a couple of Vidyadharas could be seen as they themselves are driving the yāna42. The described objects of outer wall of vimāna could be seen on ornamental bosses, rail posts and other excavated material from the site Kankāli Tilā. This sūtra comprises the description of yāna-vimāna chiefly at three placesi) When Suryābhadeva instructs assistant deities to keep ready the
yāna-vimana, ii) What subordinate deva constructed and iii) The magnificent look of yāna, ready to take off for paying divine
honours to Mahāvīra.
40 १२७ – तेसि णं दाराणं उभओ पासे दुहओ णिसीहियाए सोलस सोलस जालकडगपरिवडीओ पन्नत्ता,
ते णं जालकडगा सव्वरयणामया अच्छा जाव पडिरूवा । १२८- तेसि णं दाराणं उभओ पासे दुहओ निसीहियाए सोलस सोलस घंटापरिवाडीओ पन्नत्ता, तासि णं घंटाणं इमेयारुवे वनावासे पन्नते. १३२ - तेसिं णं दाराणं उभओ पासे सोलस सोलस तोरणा पन्नता, णाणामणिमया णाणामणिमएसु खंभेसु उवणिविट्ठसन्निविट्ठा जाव पउम-हत्थगा। स्तूप - वर्णन १६६ - तेसिं णं पेच्छाघरमंडवाणं पुरओ पत्तेयं-पत्तेयं मणिपेढियाओ पण्णत्ताओ। ताओ णं मणिपेढियातो सोलस-सोलस जोयणाई आयामविक्खंभेणं, अट्ट जोयणाई बाहल्लेणं, सव्वमणिईओ अच्छाओ पडिरूवाओ। तेसिं णं थूभाणं उवरिं अटुट्ठ मंगलगा, झया छत्तातिछत्ता जाव सहस्सपत्तहत्थया । तेसिं णं थूभाणं पत्तेयं-पत्तेयं चउद्दिसिं मणि-पेढियातो पण्णत्ताओ । ताओ णं मणिपेढियातो अट्ट जोयणाई आयामविखंभेणं, चत्तारि जोयणाई बाहल्लेणं, सव्वमणि-मईओ अच्छाओ जाव पडिरूवातो ।
- Rayapasaniya sutta 41 V.Smith, Jaina stupa ....at Mathura..., PI., LXXXIII, XLIII 42 २३ - खिप्पामेव भो ! देवाणुप्पिया। अणेगखम्भसयसंनिविट्ठ लीलट्ठियसालभंजियागं, ईहामिय-उसभ
तुरग-नर-मगर-विहग-वालग-किंनर-रूरू-सरभ.चमर-कुञ्जर-वणलय-पउमलय-भत्तिचित्तं, खंभुग्गयवइरवेइयापरिगयाभिरामं विज्जाहरजमलजुयलजंतजुत्तंपिव अच्चीसहस्समालणीयं रूवगसहस्सकलियं भिसमाणं भिब्भिसमाणं चक्खुल्लोयणलेसं सुहफासं सस्सिरीयरुवं घण्टावलिचलियमहूरमणहरसरं सुहंकन्तं दरिसणिज्जं णिउणउचियभिसिभिसिंतमणिरयणघण्टियाजालपरिक्खित्तं जोयणसयसहस्सवित्थिण्णं दिव्वं गमणसज्जं सिग्घगमणं णाम जाणविमाणं विउव्वाहि, विउव्वित्ता खिप्पामेव एयमाणत्तियं पच्चप्पिणाहि । ।
- Rayapasaniya sutta

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The directions given for preparing vimāna isn't wide, in comparison of its ready position to take off. The procession feature, distribution of seats (Bhadrāsanas) for deities are also well arranged43. The hall was constructed with many simhāsanas decorated with conch, Kunda flower, water drops made of gems etc. The ceiling of the hall was covered with vijaya-dusya cloth having hooks. Here many chandeliers made of pearls were suspended, when they strike sweet sound is produced. Besides, the yāna was adorned with a pair of nāgadantas/elephant tusk (elephant also calls nāga). The series of silver bowls were suspended with scented sticks, bunch of flowers etc. on nāgadanta pairs44. The hall was also adorned with perforated windows, bells, toranas, lotus buds etc. Many of the motifs were studded with precious jewels45. Lastly the dramatization of thirty two types of dance and drama performed in the presence of Mahāvīra and his Ganadharas are described in detail. Execution of some of the dance postures are-available on Mathurā sculptures. Suryābhadeva with his deva retinue reached at Mahāvīra's resting place. They bowed down their heads and adored him. Suryābha produced some musical instruments with his power & commands deva clan to perform the dance with their movement. Accordingly they formed viz. svastika, śrīvatsa, vardhamānaka etc. eight auspicious symbols. The symbol svastika is clearly
43 ४९- तस्स णं सीहासणस्स उवरि एत्थ णं महेगं विजयदुसं विउव्वति,संख-कुंद-दगरय- अमय- महियफेणपुंज
-संनिगासं सव्वरयणामयं अच्छं सण्डं पासादीयं दरिसणिज्जं अभिरुवं पडिरुवं । ५०- तस्स णं सीहासणस्स उवरिं विजयदुसस्स य बहुमज्झदेसभागे एत्थ णं महं एगं वयरामयं अंकुसं विउव्वति ।
- Rayapasaniya sutta 44 १२५- तेसि णं णागदंताणां उवरि अन्नाओ सोलस-सोलस नागदंतपरिवाडीओ पन्नता,... समाणाउसो !
तेसु णं णागदंतएसु बहवे रययामया सिक्कगा पन्नता तेसु णं रययामएसु सिक्कएसु बहवे वेरुलियामईओ धूवघडीओ पण्णत्ताओ, ताओ णं धूवघडीओ कालागुरुपवरकुंदुरूक्कतुरुक्कधूवमघमघंतगंधुधुयाभिरामाओ सुगंधवरगंधियातो गंधवट्टिभूयाओ ओरालेणं मणुण्णेणं मणहरेणं घाणमणणिव्वुइकरेणं गंधेणं ते पदेसे सव्वओ समंता आपूरेमाणा आपूरेमाणा जाव (सिरीए अतीव अतीव उवसोभेमाणा उवसोभेमाणा) चिट्ठति । A pair of suspnded Nagadanta/ elephant tusk could be seen on V. Smih, Jaina Stupa...
at Mathurā, pl. LXXXIII. 45 १२७ - तेसिणं दाराणं उभओ पासे दुहओ णिसीहियाए सोलस सोलस जालकडगपरिवडओि पन्नत्ता, ते
णं जालकडगा सव्वरयणामया अच्छा जाव पडिरूवा । १२८- तेसि णं दाराणं उभओ पासे दुहओ निसीहियाए सोलस सोलस घंटापरिवाडीओ पन्नत्ता, तासि णं घंटाणं इमेयारुवे वन्नावासे पन्नत्ते. १३२ - तेसिं णं दाराणं उभओ पासे सोलस सोलस तोरणा पन्नत्ता, णाणामणिमया णाणामणिमएसु खंभेसु उवणिविट्ठसन्निविट्ठा जाव पउम-हत्थगा।
- Rayapasaniya sutta

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visible at corner of the lower band of a torana46 available from Kankālī Tīlā. Here svastika is formed by a couple with curvature of their movements. One of the Āyāgapața of svastika comprises a śrīvatsa symbol executed by a woman in the outer circle. She is sitting next to the deity carrying lotus flower buds in such a way that she herself looks like a Śrīvatsa, symbol. The other figures are saluting the deity in various dramatic manner. The second displayed art was 'drutavilambita' in which the men performed peculiar activities of Bull, elephant, horse and lion. The available tympanum47, now in Delhi Museum has six depiction of unusual shaped animals with the face of lion etc. might be displaying the dramatic movement of animals The displayed eleventh and twenty forth art was 'drutavilambita'. 48
The group of deity assisted by Suryabhadeva, have even dramatized the letters (Brahmi script) 'ka', 'kha', 'ga', 'gha' etc. with its termination (pratyaya)49 They have even preformed the leaves and branches of trees 50 like Asoka, Mango, Engenia michelia etc. (rose apple). One of the toranas obtained from this site has carving of leaves and branches shaped by men with their movement and drapery.51 The last thirty-second dramatization performed by deva clan was regarding life incidents of Mahāvīra. This includes previous birth, transplantation of embryo, childhood sports, as a youth, seeking permission to renounce the world from elder brother, performing austerity, establishment of tirth, parinirvāna and the scene of attainment of mokṣa. 52 After exhibiting vivid dramatization, Suryābhadeva and his deity clan adored Mahāvīra
46 V. Smith, Jaina stūpa... pl. XIX, obverse and reverse. 47 Ibid. 48 Rāyapaseņium, preface, pp-24, 25. 49 Ibid, sloke 101, pp. 55. 50 102- 3781291ayeta z7, 31a4e1a9a 77, iqumaya a, laulaya at,
पल्लवपल्लव च णामं उवदंसेंति । 51 V. Smith, op.cit. pl- XIX. 52 १०६- तए णं ते बहवे देवकुमारा य देवकुमारीओ य समणस्स भगवओ महावीरस्स पुव्व-भवचरियणिबद्धं
7, queefufua 7, संहरणचरियनिबद्धं च, जम्मणचरियनिबद्धं च, अभिसेअचरियनिबद्धं च, बालभावचरियनिबद्धं च, जीव्वण-चरियनिबद्धं च, कामभोगचरियनिबद्धं च, निक्खमण-चरियनिबद्धं च, तवचरणचरियनिबद्धं च, णाणुप्पायचरिय-निबद्धं च, तित्थपवत्तण-चरिय-परिनिव्वाणचरियनिबद्धं च, चरिमचरियनिबद्धं च णामं दिव्वं णट्टविहिं उवदंसेति ।
- Rayapasaniya sutta

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and returned to their abode. As per ‘Malayagiri tikā' of Raypasaņiyammsūtra, such drama dances were referred in fourteenth 'Purva' under the name of "Nāțyavidhi’.53 Regarding some of the ornamental circular objects found from Kankāli Tilā, Smith revealed that they are unusual. A conch54 is the emblem of Neminātha (22nd Jina), while the elephants5s, a goose56, antelopes and bull57 are the emblems of Ajitnātha (2nd Jina), Sumatinātha (5th Jina) and “antinatha (16th Jina) and Rşabhanātha
(1st Jina) respectively. 5.13 Toraņas:
The very interesting sculpture (fig. 59) of a toraņa archway58 now at National Museum Delhi is depicted on obverse and reverse side is noteworthy as it contains the detail of a procession. On obverse, at the top of the corner;-a group of ten adorants are waiting to adore. Out of them eight are standing with folded hands, one is holding a garland and other holds a big tray of offerings kept on head. In this sculpture five carts were carved from different angles and distances. One cart is carrying royal family by a couple of horses. Divine mythological beings are depicted in such a way that they make geometrical designs triangle, quadruple, pentagon, svastika etc. with their legs, drapery and bunch of flowers. On the reverse of this tympanum, one can see three houses with slightly bent roof and a full-fledged stūpa with caityavệksa at top. Here the view of carts is given from different angles- one is open horse cart carrying devotees and another cart is shown with top view. Here a lady is holding a parasol over a deity likely to be a Jina. The procession scene in the carved band is occupied by mythical beings also. Such type of processions still continue in Jaina tradition where a Tīrthankara image is carried in a Rathayātra, here people adored the Jinas, and deities in groups and offer coconut, rice and sweets. Another toraņa now housed in Lucknow Museum (fig. 101, 102) also obtained from the Kankālī Tīlā is discussed in the chapter of deities.
53 Madhukar muni, Rāyapasenium, preface. 54 Smith V., Jaina Stūpa at Mathurā...,1900, fig. 7 of plate LXXI. 55 Ibid, fig. 2 of plate LXXII and LXXIV. 56 Ibid, fig..3 of pl. LXXIV. 57 Ibid, pl. LXXV. 58 Smith V., op.cit, 1900, pl..XIX, Buhler, E.I, vol. II, pl III.

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One Toraņa beam showing stūpa worship on obverse and the scene of procession having men and women on horse as well as elephant on reverse. This is very unique as the stūpa is adored by Suparnas and Kinnaras (Centaurs) (fig. 19, 20.).
5.14 Some Specimens illustrating Life Incidents of great men
sculptures: The integral part of Indian culture and society is well defined in art specimens at Mathurā while explaining the life incidents of great persons. There are so many sculptures excavated from Kankālī Tīlā comprehending the carving of various stories of Āvaśyaka-niryukti, Acarāṇga-sūtra, Raypasaniyam-sūtra etc. Some of them are described below, The sculptureS9 (fig. 118), shows a man sitting in veranda reflects that he entered his home, and fanned by elderly lady, perhaps, his wife. Another lady is shown standing at his back with a water jar covered with a glass to offer him for drinking, and washing the feet. A harp instrument in the lap shows his tender nature while entering the home. This sculpture correctly suggests the Indian custom and culture still continued in most of the parts in India. One of the small pillars five feet tall has the depiction of the ValkalCiri when Ganikas tried to attract him. This story is depicted in three
sections (fig. 48, 49). 5.15 Few unclarified reliefs from Kankāli Tila:
The similarity in depiction of Jaina and Buddha reliefs by artists of Mathurā, raised some confusion in judging their identity. In Jainism important life incidents of Jinas and other great men were popular in depiction like Buddhism. Here few reliefs are discussed as per legends narrated in scriptures. The popular theme used for carving is Pañca kalyanaka of Jinas (descent of jiva from heaven to mother's womb, birth, renunciation, Kevalajñāna and Nirvāna). These also include the cause for renunciation of the world, transfer of Mahāvīra's embryo, demanding permission for renunciation, Mahāvīra performing austerity in palace before accepting monkhood i.e. image of Jivantsvami etc. The description of such depiction is available in Raypasaņiyam-sūtra also. The same pattern was also in vogue in Buddhism viz. birth of the Buddha, Buddha renouncing the world after seeing an old man when he
59 J. 632, LM. Smith, op.cit., XXXIII fig.. pl. 2.

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was having a horse ride, Bodhisatva, etc. are available from Mathurā. In the same manner the sculpture of Rsabhanātha's renunciation after seeing the dance of Nilānjanā (fig. 13) obtained from Kankāli Tilā. Such depictions are exhibited in the form of paintings and murals in many shrines till today viz-Vardhamāna wanted to be an ascetic after the death of parents and seeking permission from brother Nandivardhana. In a relief60 from the site Kankāli Tilā, Vardhamāna is asking for permission to be an ascetic (fig. 124). Here he has not accepted the monkhood so he is shown with linens and surrounded by friends. Here his elder brother wears a turban as a sign of the status of a king. In this relief a pillar is shown with a lion on a top which is the emblem of Mahāvīra. While discussing this relief in 'Scythian Period' the author, Dr. J. E. Van Lohuizen de Leeuw raised the problem that here a chief personality under the umbrella is wearing clothes so he won't be Vardhamāna. But this chief personality is Vardhamāna, as described in Kalpasūtra and on numerous sculptures and paintings in Jaina shrines. He is in royal dress as he has not yet accepted the monkhood. He is asking permission to renounce the world. Another life size statue61 in varada wearing royal dress and ornaments though without head is unique. His necklace has a prominent carving of śrīvatsa, symbol in Pendant which comes on his chest. Therefore he might be the image of, Vardhamāna, though, in Lucknow Museum, it is labelled as Buddha. One of the images, 62 labelled by Dr. Fuhrer as a “sculptured panel representing “Vardhamāna preaching to Royalty, seated under a Bodhi tree though there is no Bodhi tree but scalloped nimbus (fig. 125). While observing carefully it is noticed that the sculpture is in two registers - upper and lower. In the upper part a saint is meditating sitting in padmāsana on a tri linear seat wearing a lower linen and necklace. His hands are stretched maximum like early Kuşāņa period images. He is flanked by two Indras recognised with their crowns. The saint is flanked by Indras recognised by their typical crown seems to be Acuta and Vidyunmāli Indras adoring him with folded hands. On the top of upper register, four deities are worshipping the seated personality. As per Ācāranga-sūtra, when Vardhamāna wanted to
60 Smith V., Jaina Stūpa at Mathurā...pl. XVII. 61 B. 12 LM, ; ibid., pl. LXXXVII 62 Smith V. ibid., pl no.LXXXV

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renounce the world, four types of deities reached the palace where he was meditating63. The Bhavanapati deity arrived from different heaven while three deities-Vanavantara, Jyotişka and Vimānavāsī together came to adore Vardhamana. Here on the right top a single deity and to the left three deities together adoring the royalty with folded hands. In the lower register three ascetics wear lower linen and standing with folded hands. Here all eleven devotees are standing with folded hands. The person with crown could be recognised as brother of Vardhamana. The standing woman behind the king is beyond recognition. Therefore the image might be of Vardhamana. in meditation before he renounced the world as per scripture.
The story of Candanbālā is beautifully carved showing her as hungry. A fragment of torana (fig. 119, 120) obtained from the site of K. T. is worth mentioning as it conveys her story. Accordingly the princess and queen mother left the palace to save their lives as the king was defeated. In a jungle one soldier tried to molest her mother, but she killed herself while the girl was sold by him. The Dhannaśreṣthin brought the same girl to his home out of pity and named her Candana. When once Dhanna came home from the work, Candana washed his feet and her long hair became wet and was held by him. This incident made the wife so jealous that when the Seth was out of town, she locked the girl in a dark room binding her feet with iron rope after cutting her beautiful hair. When Dhanna returned, he didn't see the girl. When he found her, she was hungry so he offered her a variety of Udad grain. She waited at entrance to offer the food to any saint before eating. She succeeded in presenting 'food/bhikṣa' to Mahāvīra, who fasted nearly for six months. In the sculptural bracket64, on obverse side, a waiting girl and a man suggests the story of Candana and Dhannā Seth. Here it is carved with detailed description of both. A girl seems to be young and sad from her face. She holds an offering in left arm while her right hand on stomach shows that she is hungry. A scarf on her head represents her shaved head. The Seth is displayed as if he
63 अभिनिष्क्रमण महोत्सव के लिए देवों का आगमन
७५३- ततो णं समणस्स भगवतो महावीरस्स अभिनिक्खमणाभिप्पायं जाणित्ता भवणवतिवाणमंतर-जोतिसिय- विमाणवासिणो देवा य देवीओ य सएहिं २ रुवेहिं, सएहिं २ णेवत्थेहिं, सएहिं २ चिंधेहिं, सव्विड्ढीए सव्वजुतीए सव्वबलसमुदएणं सयाई २ जाणविमाणाई दुरुहंतिAcaranga 2nd Srutaskandha, Gatha -753.
64 Smith, op. cit., 1900, pl. XXXIII, fig.1.

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is going out to call an ironsmith to break iron chain. On the reverse side the girl is standing with offerings and lotus flower to adore the saint (fig. 119, 120), as mentioned in the scripture like - putting one foot out of the door and one inside, etc. Thus the availability of life incidents of Mahāvīra, Candanabālā, Valkalchiri establish the antiquity of Agama-sūtras.
5.16 Chatra – The flat roof of Shrine:
The beautiful decorated square slab (accn. no. 76.12 MM., fig. 131) having eight auspicious motifs in front is acquired by Sharma R. C. from Padmanābha temple in Cobiā Pārā in Mathurā. It has full blown lotus exactly that comes over the image within. The running border on three sides has a running grove in which three vertical stone slabs (mostly having pores) were fixed. The fourth side has two holes on corner to receive the posts for supporting the roof. The horizontal linear space is carved with aștmangala motifs as seen on many shrines on the ceiling of the Garbhagriha where devotees are adoring the Jinas. Such type of flat roof small shrine with Jaina image within, is obtained from Budapest Hungary. Thus the earliest tradition of flat roof shrine is witnessed at Mathurā and even at Hungary.
5.17 Mathurā's Jaina images with special reference to Uşnişa:
The classic artists of Mathurā have produced gigantic images in round, continuously up to the end of Kuşāņa rule. Many Jaina images of this School obtained from the site of Kankālī Tīlā have depiction of caitya vrksa, pillar and Jaina motifs at their back and on sides. At Mathurā Jaina community was larger than that of Buddhists as in Kuşāņa and post Kuşāņa period more objects of art and inscriptions of Jaina sanctuaries have been found than Buddhist ones. Out of 132 Brāhmī inscriptions from Mathurā mentioned in “Luders' list of Brāhmī inscriptions’- 84 are credited to Jainas, while 33 are to Buddhas and 15 are not affiliated to particular creed. Therefore Mathurā was famous as a centre of Jainas first and continued upto the 50 years of reign of king Vasudeva as per the available image inscriptions. In the view of Laufer, Buddhism might have been strongly influenced by Jainsim.65 Bulhar comments regarding Jaina and Buddhist images as follows:
65 l) B. Laufer, Citra laksana, 1913, pp 17-18.
II) Dr. J.E.V.L. Leeuw, The Scythian Period, (Leiden, E. J. Brill, 1949), pp 153.

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“The ancient art of the Jainas didn't differ materially from that of the Buddhists. Both sects used the same ornaments, the same artistic motives and the same sacred symbols for depiction of their sculptures. The differences occurring chiefly in minor points only. The cause of this agreement is in all probability, not that adherents of one sect imitated those of the other, but that both drew on the national art of India and employed the same artists”. 66 The uşnişa was invariably depicted on Buddha images but the same was not carved on Jaina images of Kuşāņa period, though some of the images of pre Kuşāņa period are available with uşnişa (fig. 105). Most of the Jina images of Kuşāņa period are without uşnişa, but later on they were depicted with uşnişa as seen in Western Indian School and late Kuşāņa period. The head of Jina is covered with curls carved in various ways. The inscribed Aristanemi from Rajgiri of Gupta period has usnișa. Dr. Leeuw elucidates the term uşnişa after referring to the views of Coomarswami, Bulhar and Foucher that the word uşnişa originally did not mean "protuberance of the skull” but turban.67 In ancient period the turban was one of the principle symbol of dignity therefore yakşas and other supernatural and royal beings shown wearing turban. Buddha was represented with top knot of hair. Dr. Lohuizen reveals that in Mahapuruşa characteristics uşnişa laksana is also mentioned68. Regarding Jina images, Coomarswami explained that they show uşnişa in initial period. He even concluded that Jina figures have gone through the same development as the Buddha images so far as their hair dressing is concerned.69 In early Buddhist art, Buddha was not represented in human form so Bodhi tree as a symbolic representation gained more importance, while Jinas were represented in human form so the caitya tree is shown over his head. The separate worship of caitya tree was in vogue since early time, one such symbolic tree in bronze is obtained from Causa. There is a reference of donating golden kalpavrkşas to Brahmanas70 by King Kharvela as noted by him in the inscription at Udaygiri-Khandagiri. The śrīvatsa mark on chest of Jinas became characteristic in Kuşāna period and onwards. The Buddha image draped over the chest, so the śrīvatsa mark was depicted on the palm of Buddha image.
66 G. Bulhar, Specimens of Jaina Sculptures from Mathurā, Ep. I. vol.2, 1894.pp, 322, Dr.
J.E.V.L. Leeuw, op.cit., pp152. 67 Dr. J.E.V.L. Leeuw, The Scythian Period, (Leiden, E. J. Brill, 1949), pp. 169. 68 Ibid, pl 67. 69 Ibid, pp 167. 70 Nineth line in king Kharvela's inscription.

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Mathura's dedicatory image inscriptions indicate the cult of Jaina Tīrthankaras prevailing in Kuṣāṇa period wherein one can finds plenty of images of 1st Jina Ṛṣabhadeva, 22nd jina Ariṣṭanemi, 23rd Jina Pārśvanatha and 24th Jina Vardhamana as mentioned in the inscriptions of that era. Besides, two inscriptions of twentieth Tīrthankara Munisuvrata-svāmi, one Śantinātha and Sambhavanatha on their respective images are also obtained from K.T.
6.1
The cult of Jaina Tīrthankaras:
V. Smith suggests that ornamental bosses1 on railings have figures of elephant, goose and antelope, which might be the emblems of Ajitnatha, Sumatinatha and Śantinatha respectively. Even if one considers the symbols Śrivatsa and Bull on the bosses, they are the emblems of Śītalnātha and Rṣabhadeva, therefore it seems that Mathura's Jaina sangha was aware of Lañchanas of Jinas. One oldest Caturvinsati image with Rṣabha as Mūlanayaka (fig. 11) is likely to be established in late Kuṣāņa period owing to its combed hair style and slightly raised uṣṇiṣa. The Lañchanas came in iconography at a very late period; so also their reference in literature. The convention does not seem to have been older than 10th century A.D.
6.2 The Carving of Inscriptions:
As a prevailing tradition, the inscription is always carved below the feet of a Jina, but in Ayāgapața no specific pattern is noticed. On the Ayagapata of Loṇaśobhikā (fig. 41) it is on a stūpa dome while in the Ayagapaṭa of Śivayaśa (fig. 109) it is inscribed on both sides of the flight of the stairs, though sometimes it is seen on the back of the Jina (fig. 40) or Ayagapaṭa too. The type of the sculpture is mentioned in the inscription whether it is an image, a pillar, an āyāgapaṭa or a torana. Such narration proves the high accuracy and sense of keeping systematic records of Jaina Sangha at Mathurā.
1
Smith V, 'The Jaina stupa ... at Mathura' 1900, elephant pl. - LXXII & LXXIV, fig. 2; goose pl.- LXXIV, fig. 3; antelope- LXXV, fig.1; Śrīvatsa pl- LXXV, fig. 6 back elevation; Bull pl.- LXXV. fig. 3 and 4, pp 39.

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6.3
Some Distinctive Inscriptions:
Sometimes, inscribed image is with the year of establishment. It is also rather difficult to assess the mentioned era. Such type of unsolved question rose with the pedestal of Mahāvīra, (J 2 LM., fig. 121) obtained from Kankāli Tilā, where only the feet of standing Jina remain resting on alter, flanked by devotees. The same is supported by two semi-circular arches (thick leaf pattern with an oval shaped ornamented top, on the pedestal. The feet are bending towards front to balance and provide a natural look to the standing image. The two arches may be the symbol of nandipāda, forming three jewels (Ratnatrayi) with oval shaped altar (Siddhasilā). The Ayāgapatas eg. 1. Bhadranandi (fig. 111) 2. Sihanādika (fig. 110) and 3. Śivaghoșaka (fig. 106) have Jina images resting on tiers created on nandipādas.
The said Mahāvīra image was established in the year 299 of unknown era, not listed in the six eras prevailed during that period. The said image is very often reviewed by scholars. Its first discussion was carried out by Buhler in 'Epigraphic Discoveries' at Mathurā?. He discussed various possibilities and reserved the conclusion for future when some more similar evidences will come out. R.D. Benarjee also discussed the said inscription in Indian Antiquary. He observes, “If referred to the Mauryan era, the year equivalent to 321 - 299 = 22 B.C. and if referred to Seleukidan era it becomes equal to 312-299=13 B.C. This detailed examination proves that the date in this inscription cannot be referred to the era used in the Kuşāņa inscriptions and it may be said with certainly that any conclusions as to the chronology of the Kuşāņa period based on this inscription cannot regarded as valid." Sten Konow presented a paper for K. B. Pathak's commemoration volume at Poona in 1934 (pp. 262-268) in which he discussed about the inscriptions using high number in dates belonging to one era4. He
2
3 4
Sharma R.C., “Jain Sculptures of the Gupta age in the state Museum, Lucknow", Mahavir Jain Vidyalaya Golden Ju.volume, pp. 145-150. In. Ant., Vo. XXXVII, (1908), 34-41. Lorian Tangai (318), Jamalgarhi (359), Hastinagar (384), Skarah Dheri (399) and Mathurā (299)

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6
7
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could not manage to provide any decision except the seven eras used between 1st century B. C. to 1st A.D.
The author of 'The Scythian Period', J. E. Van Lohuizen De Leeuw clarifies that the inscription under discussion (year 299 of unknown era), on palaeographical and other indications should be assigned to before Kaniska's accession to the throne. After quoting various theories of scholars she offers the solutions as follows, "On closer scrutiny of the inscription there fortunately appears a very simple solution for this seemingly unsolvable question. The date which up till now has been read by all scholars as 299 is really 199 and this solves the problems". In a foot note she took Luders' support. One standing image on alter with the same type of semi-circular rings is published by her in above mentioned book having Kuṣāṇa year 62 now in Calcutta Museum.
Sharma R. C. comments about this image, "But at a stage where the factual grounds are confusing and we are not in a position to reach any conclusion, we must not be hesitant in considering the other grounds also. These grounds must, of course, not go against the available facts." After examining the feet of chief deity and the lower part of the attendants he concluded that as the sculpture was carved beautifully with demarcated nails in fingers that it was designed in transitional period between Kuṣāṇa and Gupta age. Smith V. suggests this era as Vikram era. He discussed, "If we assume for a moment that the year 299 refers to the Vikram era then the date of the image comes to 299-57-242 A.D." According to Dr. Sharma, in Kuşäņa period, the proper name of the ruling king. is always mentioned in inscription which is absent here so the image could be assigned after Kuṣāņa era. But this need further support of more solid evidences as told by him. Thus he thought of possibilities of a different era being used in the inscription.
My observation regarding this image (J 2 LM.) is as follows:
The inscription of the image is in controversy as it has the established year but without mentioning the name of the reigning king. This is not the matter of misinterpretation or eroded writings as nowhere empty space is noticed. The inscription commence with the adoration to all
1st & 2nd era- the old and the new Parthians eras, 3rd Vikram era, 4th the Azes era, 5th an era beginning about 50 A.D., 6th the Śaka era and 7th Kaniska era.
Dr. J.E.V..L. Leeuw, The Schithian Period, (1947), pp. 58 and fn 214.
Dr. J.E.V..L. Leeuw, op. cit. (1947), pl. XXIX. fig.-52, Smith V., op. cit. (1900), pp. 38.

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(sarva) Siddhas and then Arihantas who are called Mahāraja. In the first line the word 'sya' is added to 'Mahārāja' and 'Rājādhirāja" (L.L. no. 78) and then immediately the word Samvatsara comes. The name of reigning king is absent but instead clearly mentions the reign of Rājādhirāja era, which is not correctly identified. The inscription in an article about the same image is published in golden jubilee volume by Dr. Sharma is as follows:
-
"Adoration to all the Arhats and the Siddhas. In the year two hundred... 299, of the great king and supreme king of kings in the second month of winter on the first day...the daughter of Okharika and the lay sister of Ujhatika and Okha and by Sirika and Sivadina also, the image of arhat Mahavira was set up in the temple of Arhats... and a temple." The related era might be Mauryan or Mahāvīra Samvat. We know that most of the inscriptions of Kuṣāņa reign are available with the detail of Guru's school, śākha with donor's caste and genealogy, such information is not given here. The names of the donors like Okharika, Okha, and Ujjetikā seem to be of foreigners. This may suggest that they were not aware of general trend of writing an image inscription. If one talks about the omitting hundred figure than the above second figure of year 62 discussed in 'The Sythian Period' now in Calcutta Museum comes earlier than the image of year 99 after omitting two hundreds. The donor might have used era that was precedent in their country or simply Vikrama or Mauryan or Mahāvīra Samvat.
Three images of medieval period with the words 'Mula Sangha' and 'Deva Nirmita':
As we know, the main two sects of Jainism are Śvetambara and Digambara. While talking about oldest Sanghas i.e. Mula Sangha and Mathura Sangha, they are always referred to Digambara literature and inscriptions. Though from literary sources it appears that both of these Sanghas have joined Digambara tradition but three images of medieval period obtained from this site reveal different facts. The article on this topic by Dr. Jain clears many unsolved mystery. He accompanied Dr. Rastogi and visited Lucknow Museum and studied the inscriptions of the following three images- accn. nos. J 143 (fig. 122), J 144 and J 145 L.M. The detailed discription of the same is as follows
Jain S., "Śvetāmbara Mūla sangha avam Mathurā samgha- ek Vimarsha”, Jain Vidyā ke Ayama, vol. 6 (1998) 630-634.

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The first image (fig. 122, J 143 LM.) displayed in the front of Museum has a following text;
Samvat 1036 (or 1038) kārtika Suklā ekādaśyāṁ SriSvetāmbara M(ū)la Sanghena pascima catu (śthi)
Kayaṁ Śri Devanirimitā pratimā pratisthāpitā'. The second image J 144 LM. has an inscription with its text as follows
'Svetāmbara ... Māthura... Devanimmitā... pratisthāpitā'. The inscription on third image J.145 LM. Reads
"Samvat 1134 Śrisvetāmbara ŠriMāthurasangha Sridevateti
Viniramitā Pratimākrita'. Out of above three inscriptions, first refers Svetāmbara Mūla Sangha while other two refer Svetāmbara Māthura Sangha. Here in the second line of the first inscription (J.143 LM), the word “Svetāmbara' is clearly readable, but after that, 'Ma' is readable but the 'La' is not clear. Dr. Fuhrer read the word as "Mūla” as per the record of Lucknow Mesuum. Dr. Jain S. is also of the same opinion that the word is "Mūla”. Even 'Sanghena' is clearly readable. Other two images were established nearly after 100 years. From the inscriptions and the excavation site of above three images it is very clear that they all belonged to same art School. The pedestal of image no. J 145 shows two monks with Rajoharana in their hands similar to Svetāmbara tradition. Dr. Fuhrar stated that the dedicated inscriptions were made by the Svetāmbara community. Besides above three inscriptions, one more of Kuşāņa period (L.L.no.47) states that it was established at Deva Nirmitā shrine. Here all four inscriptions support that they were set up at 'Sri deva nirmite' (stūpa). Thus in Mathurā, Jaina Sangha was using this name since centuries (prior to 1st A.D.) for the stūpa premises which later on called Jaini Tilā after destruction. It is apparent from Vividha-tirtha-kalpa and other Jaina canons that the stūpa at Mathurā was 'Deva nirmita'. It's renovatation was carried out by Acārya Bappabhattasūri in 769 A.D. The kalpa also narrates that Ksamāśramana Jinabhadrasūri had rewritten the text Mahā-niśitha-sūtra followed by the renovation of the stūpa and shrine.

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Before coming to any conclusion it is necessary to observe some copper plates referring Mūla sangha viz. i) 2 inscriptions of Nonamangala ii) Devagiri and iii) Halsi in southern India. On the two copper plates of Noņamangala (c.370 and 425 A.D.) in southern India we find the names "Mūlasanghānusthitāya' and “Mūlasanghenānuşthitāya' respectively but without mentioning any traditions like Nirgantha or Kurcaka or Yāpaniya or Svetapata suggesting that at that time their separation had not taken place. The donation record of Devagiri advocates that income of the village was divided into three parts - first part was for Bhagavad-mahājinendradevatā (shrine), second for Svetapata-mahasramana-sangha and third for Nirgratha-mahāśramaņa-sangha. The Halsi donation record refers the names of Yāpaniya, Nirgrantha and Kurccaka. From inscription of Nonamangala we got the reference of existence of Mulasangha in early fourth century prior to presence of other Jaina sects. In the view of Dr. Jain, “Nirgratha-mahāśramanasangha might be suggesting the migrated Acela śramana tradition of Bhadrabahu-I, from Bihara-Orissa to Tamilnadu and Srilanka in 3rd B.C. At that time in North India the sangha was known as Nirgrantha without any gana and shakha of preceptors. At that time there was no division, hence no one called self as a Mūlasangha. After fifth century, from Halsi and Devagiri inscriptions, a separate Nirgrantha Sangha was recognised. The Acela tradition from North when reached south it called self as a Mūlagaņa/Mūlasangha. Afterwards the same introduced as 'Sri vraksamula gaña' 'Punnagavşakşamūlagana’ ‘Kanakopala-sambhuta-vşakşamula-gaņa’ etc. however the word Mülagaña was retained and adopted the name Mūlasangha. Thus when Nirgrantha tradition reached south they called themselves as a Mūla Sangha, wherein after 100 years they adopted the name Yāpaniya and excluded Mūla. Again the Mūlasangha appeared after 450 years on Konnura copper plate, and the same copied in stone in 12th century A.D10." Thus migrated Acelakas, later on called Yāpaniya who supports acelakatva and their scriptures continued the name 'Mūla' like Mūlacāra, Mūlārādhanā, etc.
10 Dr. Jain S., "Svetāmbar Mūla Sangha evam Māthura Sangha-ek Vimarsha”, Jain Vidyā
ke Ayāma, v 6 (1998), pp. 633.

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· Besides, Dravidanvaya's inscription mentions his sangha as Mūla Sangha
in 1040 A.D. This is the first available reference relating them to Mūla Sangha. The relation of Kundakunda-anvaya with Mūla Sangha appeared in the inscription of Dodda-kanagālu in the year 1044. A.D. Yāpaniya tradition has also revealed their Sangha as Mūla Sangha in 1108 of inscription of 'Yāpaniya Punnagavriksa Mūlagaña'. All above inscriptions prove that in the 11th century all Sanghas have claimed their sangha as Mūla Sangha. From the inscription of the image J 143 LM it is clear that Mūla Sangha was the part of Śvetāmbara tradition also. The period mentioned in the inscription was sixty years prior to the time when every Sangha in India considered Müla Sangha as a part of their traditions. Māthura Sangha is considered as of Digambara tradition but from the inscriptions of above other two images with the words like "Svetāmbara Māthura Sangha' without mentioning the names of any ascetics likely to be only of Śrāvakas 11 The published book “The Jaina Stūpa and Other Antiquities at Mathurā” by Smith V. discloses that there existed three sanctuaries - one stūpa, a Svetāmbara temple and a Digambara temple. The excavated sculptures are of these monuments.
6.5
The characteristics of inscriptions: 1. Most of the inscriptions are commenced with the adoration to
Arhat or Siddha, though some of them have begun with the year
of establishment of image also. 2. The name of the ruling king is acknowledged with the detail of his
dynasty. 3. The donor's name covers his family, occupation and status. 4. The inspiring Guru's pedigree is presented with his kula, gana and
śākhā's particulars. 5. Within the sculpture, its date, form and the place of installation
is suggested. They reveal many facts and hidden truth of Jainism like
11 Dr. Jain S., “Svetāmbar Mūla Sangha evam Māthura Sangha- ek Vimarsha”, pp.
631-2.

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163
i) The synonyms of Arihanta. ii) The language used in the inscriptions.
iii) The year of setting up the sculptures. i) The synonyms of Arihanta:
The dedicatory records of Mathurā did not mention the epithets of Arihanta like Tirthankara, Jina or Jinendra so it seems that they may not be popular during pre and post Kuşāņa period at Mathurā. They called Arihanta as Bhagavato12, Bhagvān13, Bhagavāl4, Arahato,
Siddha, Siddham or Arihantals. ii) Languages used in inscriptions:
Most of the records, engraved on images and sculptures are in mixed Sanskrit and Prakrit dialect and in Brahmi script. The use of local words as well as its crude form is also noticed in the inscriptions, viz 'Suya’-dharmasala16, Bhayāl7 for bhāryā- wife, Dharmapatni18. wife. Sometimes middle akşaras are deleted eg. kaska for Kaniska. Kșasya for Huviska19. One inscription commences with the usual word
‘Siddham' but it ends with the adoration to Arhat20. iii) The year of establishment on sculptures:
The period of establishing the sculptures is between 2nd century B.C. and 12 century A.D. The pre medieval inscriptions have no mention of Vikrama year and months like Kārtika, Mrigasirsa, Paușa, Mahā etc. Instead, they used the era of dynasties like Kșatrapa or Saka or Gupta having detail of seasons like Hemanta etc. along with the number of the Lunar day (The name of the week and months came
12 i. Ep. In. Vo. II, no. 28, 'Bhagavato Usabhas'
ii. JSS. no. 82. 13 i. Ep. In. Vo. I no. 8, 'Bhagawān Vrisabhasri'.
ii. JSS no.56. 14 i. Ep. In. Vo. II, no. 6, Bhagava Nemeso.
ii. JSS no. 13. 15 i. JRAS, 1896, Arihanta Mahāvīrasya.
ii. JSS no. 88 16 L. L no. 32, Ep. I., Vo. I no.5. 17 Ep. In-v. II, no.2. 18 Ep. In-v. I, nos. 2 and 3. 19 L.L. no.35, Ep. I, Vo.II, no. 26. 20 L.L. no.27, Ep.I. Vo.I, no.3,JSS no. 29.

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in later period). The obtained images of medieval and post medieval period do contain Vikrama year and its months.
6.6 The Influence of Jainism on Socio-religious and Economic life of Common People:
164
The dedicatory inscriptions on images and sculptures disclose that they were established by persons following various professions in the society; and mainly by goldsmith (Manikāra/hairaṇyaka/Sauvarṇakāra); worker engaged in metal (Lohikāraka); ironsmith (Lohavāṇiya), cotton dealer (Kārappāsika); dyer (Rāyaka); perfumer (Gandhaka); dancer (Naṭaka); courtesan (Gaṇikā); members of Jaina Sangha particularly by Śrāvaka or Śrāvikā etc. Jaina's contribution in developing cultural life of common people is notable. They established images after performing austerity also. Some of the details of inscriptions are given below
After performing austeriy:
A lady named Vijayśree fasted for a month and then established an image mentioning her austerity21 showing her respect towards Jainism. By gold merchants:
The references of installation of images by gold merchants are available on two images and on an Ayāgapata. The inscription22 dated 20th year of Kuṣāṇa era is regarding the establishment of an image by Mitrā, wife of Haggudeva, daughter of Jayabhatti, the lapidar (Maniakara) and daughter-in- law of an iron monger (Lohavāṇiya). Here a lady has installed a Jaina image whose father was a jeweller and father in law was an iron trader. She included her parentage along with in law's name. Another inscription23 from the site is dated 93 year of Kuṣāṇa era records the establishing an image of Mahāvīra by the daughter of the goldsmith Hairanyaka deva. The term Hairanyaka is explained as treasurer by Luders24.
The record of setting up a tablet of homage (Ayagapata) at the shrine by Nandighosa the goldsmith25.
21 L.L. no. 50, Ep.In. Vo.II- no. 36, pp.209.
22 LL. no. 29, Ep. In. Vo. I- no 4, pp. 384.
23 LL. no. 74, Ep. In. Vo. II, no. 23, pp. 205. 24 Ibid.
25 Ep. In. Vo- I, XLIV no. 35, pp-397, Bulher reads '[te]venikena' while according to Luders in Ind. Anti. XXXIII, 150-151, the word 'Savanikena' (prk.) or' Sauvarnikena' (skt) means by the goldsmith' Luders' view seems to be more correct.

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By iron monger - Lohikāraka: The considerable donation given for installation of images by ironsmiths could be seen on some inscriptions. One such donation given by daughter-in-law of iron monger Vādhara in the 20th year of Kusāna era is available on image20. Another inscription is of establishment of an image in the year 52 of Kuşāņa era by Lohikāraka (the worker in metal), Sura the member of the committee (Gottika), the son of Sramaņaka. The famous Sarasvati image established in the rangamandapa of the shrine is also by Lohikāraka-the worker in metal named Govā, the son of Sihā as per the inscription28 of Kuşāna era in the year 54. By cotton dealer - Kärppäsika: One inscription, dated 40 or 60th of Kuşāņa era in the period of Huviska refers the donation of an image gifted by Dattā the wife of cotton dealer- Kārppāsika to please Bhagavān Rsabhaśri29. By perfumer (Gandhika) : There are three images referring to the donation made by perfumer (Gandhika). One image of Jina Vardhamāna30 records that same was donated in the year 35 of Kusāna era by perfumer Kumarbhati the son of Kumārmit (r) ā. The second was established by Jinadāsi, the wife of Gandhaka-perfumer in the year 83 of Kuşāņa era in the reign of Mahārājā Vāsudeva31 and the
hird image32 records the installation in the-98 year of Vasudeva's reign by the daughter-in law of Varuņa the perfumer (Gandhaka). By dyer (Rāyagini) : An inscription of donation of an image by a lady dyer33 (Rāyagini) the wife of Jayabhatta in the 25 year of Kuşāņa era is also there. By a ferryman (Pratārika) : Even a reference of donation by a ferryman is available on a Jaina image. Accordingly a lady Samādhya the wife of Grahamitrapālita34 a
26 L.L., no. 29. 27 L.L. no. 53. 28 L. L., no-54, Ep. I. Vo. I pp-391, no.-21; In. Ant., Vo.-XXXIII pp.104, no. 17. 29 L.L. no.56, Ep. I. Vo.- I no.8, pp-386. Luders' Math. Inscri. pp 46-47. Ind. Ant. Vol.
XXX III. Pp.105, no.18. 30 Ep. In. Vo. Il no. 7, L.L. no.39, 31 L.L. no. 68. 32 L.L. no. 76. 33 L.L. no. 32, Ep.In. V-I, no. 5. 34 Ep. I., Vo. II, no. 39, pp. 210.

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ferryman (Prātārika) donated an image in the reign Kumaragupta, the year 113 of Gupta period.
By a Dancer (Nartaka) :
A record of setting up an Ayagpaṭa by Śivayasa the wife of the dancer (Nartaka) Phaguyaśa35 is of early kusāņa period.
By courtesan:
The Ayagapaṭa with the inscription of donation made by courtesan (Gaṇikā) Vāsu the daughter of courtesan Lonasobhikā36 a shrine, a hall of homage, a reservoir and a Śilāpaṭṭa for the worship of Arhat.
By Carvan leader:
An image with the record of installation by Dharmmasoma the wife of Sārthavaha37 (carvan leader) in the year 22 of Kusāņa era.
Thus dedicatory donations of images, shrines, reservoir etc. were made by common people. As suggested by Bajapayi K.D. the term Śresthi denotes a banker or merchant or foreman of a guild38. It occurs on two inscriptions from kankāli Tila, the first dated 15 year and second of 38th year of Kusāņa era setting up a pillar with Nandiviśāla.
6.7 The Evolution of Mahamantra Navakara and its Present Form:
In Jainism the sacred Navakāra Mantra is considered very ancient. It is an origin/basic mantra abstracted from 14 old scriptures known as Purvas, now extinct. The present form has nine Padas but only first two are seen on Mathurā images and Hathigumpha cave inscription. The 17 line inscription of King Khārvela at Hathigumphā commences with the adoration of Jinas by first two padas of the said Mantra
Namo Arahantānam. Namo Savva Siddhānam.
Here in the second pada the word 'savva' is added prior to 'Siddhanam' which is not seen in the present second pada, instead 'savva' is added to the fifth pada as 'Namo loe savva sahunam' covering all five Supremos. The scripture Angavijjā includes various mantras with its chanting process and consequences of fruit. It also provides the development process
-
35 Ep. I., Vo. II, no. 5, pp. 200.
36 i. In. Ant. V. XXXIII, pp.152-153.
ii. Coomarsvāmi, HIIA, pp. 72. pl. 19.
37 L.L. no. 30.
38 Bajapayee K. D., op. cit. pp. 129.

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of Navakāra mantra. According to scholars the scripture Angavijjā is compiled by previous Acāryas before the Christian era, as its language is similar to ancient Ardhamāgadhi and Śaurseni. It has total eight adhyāyas where many subjects are discussed in detail including previous form of Suri and Vardhamana Vidyā.
In Angavijjā, three forms of Navakara mantras is available. 1. Dvipadātmaka-having two padas. 2. Tri-padātmaka- with three Padas. 3. Pañca- padātmaka- having five padas39. Later on four padas joined to show the power of consequences of adoration.
1. Dvi-padātmaka form of Navakāra mantra:
1) Namo Arihantānam.
2) Namo Siddhanam or Namo Savva Siddhānam.
2. Tri-padātmaka form of Navakara mantra:
1) Namo Arihantānam.
2) Namo Siddhānam.
3) Namo Savva Sahunam.
167
Navkara mantra is available with above three Padas40 where the first two Padas have usual salutation to Arhata and Siddha, while the third salutation is mentioned to all sadhus. Here the word 'Loe' (stands foruniverse) is absent though it is seen used at some places, moreover the 'Savva' is applied in third pada. Thus both types of third pada is available here -Namo Loe Savva Sähunam and Namo Savva Sāhunam. 3. Pañca-padātmaka Navakāra mantra:
1) Namo Arhantānam.
2) Namo Siddhanam/ Namo Savva Siddhānam.
3) Namo Ayariyānam.
4) Namo Uvajjhāyānam.
5) Namo Loe Savva Sahunam.
This five pada mantra is available in this text with both forms of second pada. The Culika of the same text is first available in Avasyaka-niryukti; therefore the mantra11 is believed to have been composed in the c. 2nd B.C.
39 Dr. Jain S., an article on Angavijja me Jain Mantro ka Pracina Svarupa' in Jinavani march 2005, pp.20.
40 Ibid, pp. 23-24.
41 Dr. Jain S., an article on 'Angavijja me Jain Mantro ka Pracina Svarupa' in Jinavani march 2005, pp.23-4.

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Afterwards the four padas are joined to emphasise the consequences of adoration known as falasruti or Culikā.
Mantra (in continuation)
Elucidation 6) Eso pañcha namukkāro such five salutations 7) Savva pāvappaņāsano
destroy all the unauspicious --
happenings (sins), 8) Mangalañca savvesim
very auspicious among all
mangalas, 9) Padhamam havai mangalam. best among other mangalas. Above nine padas (5+4) is the present form. The adoration of same provides salvation, reduces birth cycles and melts unauspicious karmas. The auspiciousness of this mantra is noted by Hemcandracārya in Yogsāstra42 that the yantra of the same mantra is brought to light by previous ācārya Vajrasvāmi from Vidyānupravāda-purva43. Till the period of Vajrasvāmi a system was prevailing that the procedure of meditating mantras on certain yantras was kept secret and was given to only right suitable disciples. The reason behind is that the same was considered as a Kalpadrum - The wishing tree. It seems that on seeing the growing tantric influences by other sects, Jainacāryas too introduced and developed their own Yantras and Mandalas in 11th century from old scriptures for the welfare of people.
6.8
The Yantra of Navakara Mantra:
The yantra of Navakāra mantra is called Navadevatā and Siddhacakra in Digambara and Śvetāmbara traditions respectively. The creation of Siddhacakra and Navadevatā Yantra is based on adoration of five Supreme ones. Both yantras have nine elements in which Pañca Parameșthis are common while other four with minute differences are given -
421) Hafç4:41 ERR : Pen
विद्यानुवादात्समुध्दृत्य बीजभुतं शिवश्रियः।।७४ ।। जन्मदावहुताशस्य प्रशान्तनववारिदम्। गुरुपदेशाव्दिज्ञाय सिद्धचक्रं विचिन्तयेत् ।।७५ ।।
- Yoga-Sastra, 8. II) U.P. Shah, op.cit., 1955, pp. 100. 43 Shri Dhurandhargani Vijayaji, Namaskara Svadhyaya, (Mumbai, Jaina Sahitya Vikas
Mandal,).

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169
Śvetāmbara tradition: Right Knowledge, Right Faith, Right conduct
and Right Penance. Digambera tradition: Sruta (knowledge), Sacred Wheel. Jaina image
and Jaina Shrine. Out of above nine worthies some are seen on Mathurā's Āyāgapattas, they were carved with sacred symbols. Here Jina is always shown as Arihanta i.e. sitting in Samavasarana under the Caitya vrkṣa while outer circles have carving of pairs of Nandipada with a common circle (where Jina is sitting) symbolising for Right Knowledge, Right Faith and Right Conduct. This secred depiction assist the devotees in getting salvation. Here most of the inscriptions commence with the adoration to Arhat. The 'Pañca Paramesthi Namaskāra Mantra' is said to be the origin of all spells and mantras; the essence of fourteen purvas and the wishing tree to gain all desired materials 44. The power of said mantra can be used against poison, snake bites etc. The Siddhacakra yantra created with Pañca- Paramesthi mantra was employed in various Tanric rites. It seems that above mantra and yantra might be used for pure rites like Śankita and Paustika. The roots of said Yantra could be seen in depictions on two of the Ayāgapattas - svastika and Sivaghosaka. The Ayāgapatta of svastika (fig. 107) offers Arihanta at the centre_surrounded by a group of four nandipāda. Here outer circle has four objects a stūpa at the top, a deity at bottom and a sacred tree within railing on both sides. The Ayāgapatta of Sivaghoșaka (fig. 106) has a Jina in centre circle adored by two ascetics surrounded by four groups of three jewels. In both above Ayāgapattaş we get Arihanta, Sadhu, a shrine, a deity, sacred tree and three jewels similar to Siddhacakra and Navadevatā. Here the Āyāgapațța of wheel (fig. 108) could be considered as the symbol of sacred wheel as in the yantra of Navadevatā. It has sixteen spokes and the depiction of same number of three jewels within. The centre of the left side panel has Srivatsa symbol suggesting the presence of Jina. If one compares the inscriptions on Āyāgapattas and Jina images of Mathurā, both differ in their initial words. Most of the Ayāgapattas open with the words 'Namo Arihanta' - obeisance to Arihanta as Jinas help the souls (Jivas) in getting Moksa. Moreover bowing down to Arihanta is considered as a powerful, auspicious happenings (mangala).
44 Shah U. P., op. cit. 1955, pp.101 fn., 102.

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The image inscriptions commence with the word "Siddham' which translated as 'Success' by historians. If one thinks why here only ‘Siddham' word is used? Why not namo is added first? (Obeisance to Siddha). There is one possibility of regarding the use of this word "Siddham', that 'Every soul has potentiality to become a Siddha'. To keep this aim as a constant reminder in the mind of adorants perhaps the word 'Siddham' is engraved on images4s. The power of Mantra Navakāra with its Yantra Siddhacakra and Navdevatā is available in the legend of king Sripāla in 'Sripālrājā-norasa 46 originally 'Siri-sirivāla-kahā' by Ratnamandira-gaņi (1362 A.D.) Here the author describes the Yantra with its details and the austerity performed by Nayaka Sripāla and Nayikā Mayanā for the welfare of their family. Dr. U.P. Shah informs us that - originally, the Siddha-cakra or the Namaskāra-valaya must-have been employed in pure rites only, i.e. in the Santika and the Pausţika. But the growing Tantric influence in India from 7th century A.D. if not earlier, resulted in the composition of various Buddhist Sadhanās and in a similar activity in Brahmanical Tantras, also led the Jainas not only to elaborate their pantheon, but also to introduce a number of tantric rites and practices which were originally prohibited for monks and were against the principles of Jainism 47.
The Roots of Gaņa, Kula, and sākhā of the Preceptors: The list of gana, kula and sākhā embodied in Kalpasūtra and the appearance of unclothed images with open eyes are probably based on the fact that the split of the Jain Sangha - Svetāmbara and Digambara came into existence later on, at least after Kuşāņa era. Even there is no hint of separation in any of the early archaeological records. The chief business centre Mathurā was flourishing with the people of three main traditions of India and people from abroad. Most of the donations were given by all type of professionals. The names like Ujhatikā, Okharikā, Ogha, Akakā of the donors suggest that people from other countries also were converted to Jaina faith. This system shows the well organised methodical workmanship of Jaina Sangha keeping historical valuable documentation for future generations.
45 As explained by Śri Ācārya Sagaracandra sagarji- present Gacchadhipati of Sagara
Kula. 46 Sri Vinayavijayaji and Upadhyaya Yasovijayaji composed in 1738 A.D. 47 Shah U. P. op. cit. 1955, 102-3.

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A genealogy of Acāryas after Mahāvīra is discussed in many scripturesKalpasūtra, Nandisutra, Paṭṭāvali-parāga, Himavantācāryas's Theravali etc. Among all these available genealogies (Sthavirāvalis), kalpasūtra is the oldest. The Sutra narrates that the monastic order was divided into several schools and units known as school (Gana), family (Kula) and branch (Śākhā) based on that particular area. Out of obtainable nearly about 86 inscriptions from Mathura, 48 comprise of the names of inspired ascetics with their lineage. These dedicatory records mention three ganas
Kottiya Gaṇa available on 20 images.
Vāraṇa Gaṇa
available on 12 images
Udhikiya or Udesa/Udeha Gana available on 2 images.
The reference of 13 kulas is available in inscriptions while the same is accounted in Kalpa-theravali is 27.
-
-
171
-
The number of branches (śākhās) available from record of donation is 8. The synonyms for ascetics except Acārya, Upadhyāya and Sadhu used in inscription are as per their categories.
Vācaka the title Vacaka is used for the preacher (E.I. vol.-I, nos. 3, 4). Ganin- The title Ganin is used for the head of the school (gana). Ganini - The female ascetic having the title Ganini.
Śramana - Sthavira-The monk is generally called by this name but also sometimes by Samana.
Anuyogadhara - the renowned Acāryas or most senior ascetics having vast knowledge of Anuyoga48 (narratives) of that period. Till the time of Arya Vera/Vaira, they were not classified but the system came into existence at the time of Arya Rakṣitsuri49.
Kṣapaka - A monk.
Ārya/Ajja - All Jaina senior monks called Arya, but sometimes any Jaina monk are also called Arya/Ajja.
Antevāsi/śisya- The ordinary male disciple called Antevasi of his
Guru.
48 Anuyoga (Exposition) - Jaina scripture were grouped into four Anuyoga as per its contentsi. Dharma-kathānuyoga. ii. Carananuyoga. iii Gaṇitānuyoga. iv. Dravyānuyoga 49 Srimad Rajendrasuri smarak Grantha pp-39.

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50 i. 51 i.
ii.
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Antevasini - A female disciple called antevasini of her Guru. Śrādhacāra Śrādhacara is colleague 50 of the monk.
Śrāddhacāari51 Śraddhacari is the female companion of the lady
ascetic.
-
-
Yugapradhana - Any Vācakācārya or Gaṇācārya having extra qualities of power and glory for which he declared as Yugapradhana of that era. The trend of mentioning gaṇa with relevent kula is available only on images not on the other sculptures like Toraṇa, Ayagapaṭa, pillars etc. Though sometimes the name of inspiring Guru is mentioned, but that is without his pedigree. The division of Śramaņa tradition into several gaņas, kulas, śākhās and also sambhāgās was a peculiarity of the Jaina Sangha and was not seen in any other Indian religions52. The translation of above terms to school, family and branch were doubted by scholars like Bulhar and Jacobi53 Jacobi explained the terms as
Gaṇa
school: derived from one teacher',
Kula
succession of teachers in one line.
Śākha the lines which branch off from each other.
He even holds that the modern Gaccha is the same as the ancient Gaṇa.
The Acarya Mahāprajna has also discussed the same topic and concludes that till the time of Acarya Suhasti and some time after, the leader of the Gana was performing both work as a Ganin taking care of Gana and as a Vācaka guiding the disciples to carry forward the scriptural knowledge. The tradition of Gaṇācāryas continued as a teacher to disciple in the same Gaṇa. Vāckācārya's tradition as well as Yugpradhana's (chief Sthavira of that era) tradition was not related with single Gaṇa instead it was depending upon the powerful skilled Vacaka of any Gaṇa or Śākha in course of time54.
Sharma V.K. op.cit. 2002, 161 and EI, vo. I, no. 4. Ep.In. vo. I, no. 1, Ep.In. vo. II no. 1-1,
Sharma V.K. ibid.
52 Bajapayee K. D., Early Inscriptions of Mathurā, pp. 114,115.
53 i.
Bulhar- The Indian Sect of Jainas, 1963, pp. 33, see fn. on pp. 115, in Bajapeyee's Early inscri..
ii. Jacobi- SBE vol., XXII, pp-288.
iii. Bajapayee K. D. op.cit. pp. 115.
54 Acārya Mahaprajna, Jaina Parampara ka Itihas.

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There are two inscriptions available from the site of Kankāli Tilā which include the name of inspired Vācaka having Gaṇin position too. The inscription of Vijayasrii (L.L. no. 50) states the name of..Dinara the great preacher (brahat vācaka) and Ganin of the Vārana gana, the kula was Ayyabhysta, sakha-Samkāsiyā and the Sirigriha sambhaga. Another inscription (L.L. no. 29; EI, vo.1, no.4) informs us that Arya Ogha was the pupil of great preacher (Brihant Vācaka) and Gaņin Ja..mitra of Kottiya gana, Brahmadasiya kula Ucchanāgari sākhā and Śrigriha sambhāga. Besides above observations, there are two inscriptions having reference of Mehika55 kula without any reference to the gaņa (L.L. no. 24, 70, also J.S.S. nos. 26, 63). Both mentioned about the request of Arya Vasulā the female pupil (śiśini) of Sangamikā out of Mehika/Maighika Kula. The first inscription is dated 15 year of Kuşāna while second is of 86 of the same era. The first record holds three lineages of Mehika kula at the request of Arya Jayabhuti's female pupil Arya Sanghamikā and her śiśini Vasulā (Nirvatana). According to Kalpsūtra this kula belongs to Vaišavātika 56 gaņa. Its four kulas were Gaņika, Meghika, Kāmardhika, Indrapuraka and its four sākhā s were Śrāvastikā, Rājyapālitā, Antaranjiyā and Kșaumiliyās7. The systematized divisons of gaņas with their head gaņins, vācakas, member of kulas as well as sākhā s with necessary detail is given below with special reference of three Ganas - Köttiya, Vārana and Udeha as per Kalpasūtra as well as on image inscriptions 58.
6.10 The Sthaviravali/Theravali as Expounded in Kalpasūtra:
The Kalpasūtra is in three parts: 1. The life sketch of 24 Tirthankaras.
Here last three Tirthankaras - 22nd Aristanemi, 23rd Pārsvanātha, 24th Mahāvīra and first Rsabhadev's life history is drawn amply. The
lives of remaining twenty Jinas are described in short. 2. Gañadharavāda, The leader of the Gaņa is Gañadhara. 3. Guru's ancestor tradition is elucidated in Sthaviravali/theravali with
gana, śākhā kula, Sanghata etc.
55 K.D. Bajapayee, Early Inscriptions of Mathurā, pp. 114. 56 Ibid. 57 Ibid, also Kalpasūtra, Gatha no. 214. 58 The tradition of preceptors on inscriptions is given in this chapter as 6.18 in the table
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350
The 24th Tīrthankara Mahāvīra was belonged to Kāśyapa gotra and had eleven Ganadharas. The names of these with the detail of their Gotras
and the number of disciples are1. Indrabhuti ascetic
Gautama Gotra 500 disciples 2. Agnibhuti 3. Vāyubhuti 4. Āryavyakta Sthavira (Sadhu) Bhārdvāja Gotra 500 disciples 5. Ārya Sudharmā Sthavira
Agnivaiśyāyana Gotra 500 6. Mandika Putra
Vāsiştha 7. Maurya Putra
Kāśyapa
350 8. Akampita
Gautama
" 300 9. Acalabhratā
Haritayana " 300 10. Medarya
Kaundinya
300 11.Prabhāsa
300 All eleven Ganadharas of Mahāvīra had complete knowledge of 14 Purvas as well as 12 Angas and imparted the same to the groups of Sadhus/Sramanas. Among eleven Ganadharas, ganas/units were nine because the numbers of Sramaņas learning scriptures of four classes were less; so two classes of students were combined giving 9 ganas for 11 ganadhars. Besides, before going for Anasana, every ganadhara used to submit his gana to Sudharmāsvāmi who was blessed with longevity. Therefore we call today's Jaina's ascetic tradition is in continuation of Sudharmāsvāmi. Tīrthankara Mahāvīra's descendent order till Yaśobhdra is as follows
Bhagawān Mahāvīra
Kāśyapa Gotra. Arya Sudharma svami Agniveśyāyana Gotra Ārya Jambusvāmi
Kāśyapa gotra Ārya Prabhava svami Kātyāyana gotra Ārya Sayambhava
Vatsa gotra Ārya Yaśobhadra
Tungiyāyana Sagotra Ārya Yaíobhadra had two disciples- Sambhutivijaya of Māthara gotra and Bhadrabāhu of Pracina gotra. Till the time of Bhadrabāhu, new Šramaņas were joining the Jina congregation order on anybody's advice, they were called the disciples of chief leader (pattadhara). In the period of Bhadrabahu's disciple Ārya Godasa too, the number of

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Śramaņas increased so Gaņas and Śākhās s were introduced but not the Kulas. Besides, Godasa other three disciples Agnidatta, Yajnadatta and Somadatta all four were Kaśyapa Gotriya sthavira. The disciples of one Ācārya was known as kula. Later on in Mauryan period due to increase in number of Śramaņa sadhus and their Vihāras in remote places Gaņādhisa/Ācārya found it difficult to hold, care and control the classes settled at far places. For better administration of ganas, kulas and sākhās came into existence. The company of two sadhus was known as sangatakas (local dialect sanghada), more than three called as gaccha. According to their norms a team of eight ascetics with one preceptor was known as Kula. The union of three Kulas was considered as Gana59 which later on was replaced by the word Gaccha. The leader of the Gaccha is known as Gacchādhipati. The same pattern still continues in Svetāmbara tradition. Here the word gaccha stands for a group of sadhus following the same Guru (Gacchādhisa) paramapara.
6.11 Sankṣipta and Vistrita Vācanā (Short and detailed reading) :
In the Kalpasūtra further lineage is given in two waysI) Sanksipta Vacanā/ Short reading60: comprises of the tradition of
Acāryas in Gatha-no. 206 having only their names, gotras, residences and introduced sākhās.
59 कुल - शाखाः
"एत्थ कुलं विण्णेयं, एयायरियस्स संतती जाउ । तिण्ह कुलाणमिहोपुण साविक्खाणं गणो होइ।।"
Pattavali-paraga by Pandit. Kalyanvijaygani, pp-12. 60 Samksipta Vacana – संक्षिप्त वाचना
"संखित्तवायणाए अज्जजसभद्दाओ अग्गओ एवं थेरावली भणिया तं जहा-थेरस्स णं अज्जजसभहस्स 'हँगियायणसगोत्तस्स अंतेवासी दुवे थेराथेरे अज्जसंभूयविजए माढरसगोत्ते, थेरे, अज्जभद्दबाहु पाइणसगोत्ते, थेरस्स णं अज्जसंभूयविजयस्स माढर सगोत्ते अंतेवासी अज्जथूलभद्दे थेरे गोयमसगोत्ते, थेरस्स णं अज्जथूलभद्दस्स गोयमसगोत्तस्स अंतेवासी-दुवे थेरा-थेरे अज्जमहागिरी, एलावच्छासगोत्ते, थेरे अज्जसुहत्थी वासिट्ठसगोत्ते, थेरस्स णं अज्जसुहत्थिस्स वासिट्ठसगोत्तस्स अंतेवासी दुवे थेरा-सुट्ठिय-सुपडिबुद्दा कोडियकाकंदगा-घावच्चसगोत्ता। थेराणं सुट्टिय-सुपडिंबुद्धाणं कोडिय-काकद-गाणं वग्घावच्चसगोत्ताणं अंतेवासी थेरे अज्जइंददिन्ने कोसियगोत्ते।। थेरस्स णं अज्जइंददिन्नस्स......अज्जतावसी साहा निग्गया इति ।।२०६।।
Kalpsūtra - theravali

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II) Vistrita Vācanā/ Detailed reading61: The detailed reading /Vistruta
Vācanā is given with genealogy of Ācāryas with their respective
kulas and sākhās in Gatha nos. 207 to 222 up to Falgumitra. As per the detailed reading further lineage of Ārya Yaśobhadra is as follows; he had two famous disciples-Sthavira Ārya Bhadrabāhu of Prācina gotra and Arya Sambhutivijaya of Māthara Gotra. Sthavira Arya Bhadrabāhu's four disciples were Godāsa, Ajñidatta, Yajñadatta and Somadatta having Kāsyapa Gotra therefore their disciples came to be known as Kāsyapa Gotriya Sthaviras. The inscription of Ahicchatra suggests that it was donated for Kāsyapiya Sthaviras. In the period of Godasa the number of Śramaņas increased resulted in introduction of more sākhās, however they called themselves as the disciples of that particular Gaņa's leader. The first Gasa was introduced by him as Godasa Gaņa. It was one of the oldest and most respected Gana. As per Dr. Bulhar's opinion this Gana62 originated in 250 B.C. and existed as late as the 14th century A.D. The names of its branches are available on Mathurā images showing their existence and hold in the city. Their monks toured to four remote places to propagate Jainism, that resulted in opening four Sākhās of Godasa Gaņa based on those cities' names1. Tamraliptikā - Tamaluk city, district Medinipur, Bengal. 2. Kotivarsiyā - Mursidabada city, W-Bengal, previous name Kotivarsiya
nagara. 3. Paundravardhanikā - Pānduā/Firozabada town, Nadiyā, Virbhuma etc.
North Bengal, previous name Paundravardhana- nagara. 4. Dāsikarpatikā - Dāsikarpata nagara, east Bengal, near sea coast. Yaśobhadra's first disciple was Bhadrabāhu of Pracina gotra and the second was Sambhutivijaya of Mathara Gotra as we have seen. Sambhutivijaya had seven female and twelve male disciples.
61 Vistruta Vācanā - fata ale
"वित्थरवायणाए पुण अज्जजसभद्दाओ परओ थेरावली एवं पलोइज्जइ, तंजहा-थेरस्स णं अज्जजसभद्दस्स इमे दो थेरा अंतेवासी अहावच्चा अभिन्नाया होत्था तंजहा-थेरे अज्जभद्दबाहू पाईणसगोत्ते, थेरे अज्जसंभूयविजये माढरसगोत्ते । थेरस्स णं अज्जभद्दबाहुस्स पाईणसगोत्तस्स इमे चत्तारि थेरा अंतेवासी अहावच्चा अभिण्णाया होत्था, तं थेरे गोदासे, थेरे अग्गिदत्ते, थेरे जग्णदत्ते, थेरे सोमदत्ते कासवेगोत्तेणं। थेरेहिंतो णं गोदासेहिंतो कासवगोत्तेहिंतो एत्थ णं गोदासगणे नामं गणे निग्गए, तस्स णं इमाओ चत्तारि साहाओ एवमाहिज्जंति,
तं तामलित्तिया कोडीवरिसिया, पोंडवद्धणिया, दासीखब्बडिया ।।२०७।।। 62 Ep. I. vol. I. pp. 379-80 and Ep.I. vol.-X Append.X no.22-27.Also, the History of Jain
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The seven female disciples were Yakṣā, Yaksadinnā, Bhutā, Bhutadinnā, Seņā, Veņā, Reņā (sisters of Sthūlabhadra). The twelve male disciples were Sthūlabhadra, Nandanabhadra, Upanandanbhadra, Tisyabhadra, Yasobhadra, Sumanobhadra, Manibhadra, Pūrņabhadra, Rjumati, Jambūnāmā, Dīrdhabhadra, Pāņdubhadra63. Sthavira Sthūlabhdra had two disciples, Ārya Mahāgiri of Elāvatsa gotra having 8 disciples and Arya Suhasti of Vasistha gotra with 12 disciples. Eight Disciples of Arya Mahagiri were- Sthavira Uttara, Balissaha, Dhanādhya, Śriādhya, Kaudinya, Nāga, Nāgamitra and Sadulūka-Rohagupta (Kausika Gotra). Twelve disciples of Arya Suhasti- 1. Arya Rohana. 2. Bhadrayasa 3. Meghagani 4. Kamarddhi 5. Susthita 6. Supratibuddha, 7. Arya Raksita, 8. Rohagupta, 9. Rsigupta, 10. Srigupta, 11. Brahmagani 12. Somagani. The two Sthaviras of Ārya Mahāgiri - Uttara and Balisaha introduced Uttarabalisaha Gaņa64 having four Sakhas based on the names of their citiesKaubambikā- From Kausambi. Now known as Kausam and Pabhosa hill, near Alhabad. Śuktimatiyā- From Suktimati nagara; once it was a famous city in south Malava in M.P. Kaudambāņi- The place Kaudambāna is not known. Candranāgari- From Chandranagara place, it is 3 mile away from Hugali in Bengal.
63 “थेरस्स णं अज्जसंभूयविजयस्स माढरसगोत्तस्स इमे दुवालसथेरा अंतेवासी अहावच्चा अभिण्णाया होत्था,
तंजहा। नंदणभदुवनंदणभद्द तह तीसभद्द जसभद्दे । थेरे य सुमणभद्दे, मणिभद्दे पुनभद्दे य ।।१।। थेरे य थूलभद्दे, उज्जुमती जंबुनामधेज्जे य । थेरे य दीहभद्दे, थेरे तह पंडुभद्दे य ।।२।। थेरस्स णं अज्जसंभूइविजयस्स माढरसगोत्तस्स इमाओ सत्त अंतेवासिणीओ अहावच्चाओ अभिन्नाताओ होत्था, तंजहा : जक्खा य जक्खदिन्ना, भूया तह होइ भूयदिन्ना य। सेणा, वेणा, रेणा, भगिणीओ थूलभद्दस्स ।।१।। २०८।।
_P. Kalyanvijayaji, op.cit., Gatha 207, 208. 64 Kalpasutra-theravali, Gatha no. 209. Also ibid, PP-20.

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Ārya Suhasti's 12 disciples were very powerful and have vast knowledge of scriptures. His seven disciples introduced six gaņas stated below. The name of other five disciples are - Arya Meghagani, Arya Rakṣita, Sthavira Rohagupta, Brahmagaņi and Somagaại. The first disciple Ārya Rohaņa of Kāśyapa gotra opened Udeha gaņa taking care of four sākhā and six kulas. The four śākhās6s of Udeha
a are Udumbarivā. Maspuriyā, Māthuriya and Purnapatrikā; The six kulas of Uedaha gaņa are Nāgabhūta, Sombhūtika, Ādrakaccha, Hastalehya, Nandiya and Pārihāsika. The second Sthavira Śrigupta of Hārita Gotra introduced Vāraṇa gaņa (sometimes it is introduced as Carana gana) having four sākhās and seven Kulas (Gatha 212). The four sākhās of Vāraṇa gaņas - Hāritamālāgāri, Sankāsiyā, Gavedhūyā and Vajjanāgari. The seven Kulas of Varana gaņa are Vatlsaliya, Priitidharamaka, Hālīya, Puşymitriya, Mālīya, Ārya Cetaka and Krşnasakha. The third disciple Bhadrayasa (Bhāradvāja Gotra) introduced ætuvātika gana having four branches and three kulas. Its four branches are Campiyā, Bhadīyā, Kākandikā and Maithilīyä. Its three kulas are Bhadrayaśīya, Bhadraguptīya and Yaśobhadrīya (Gatha 213). The fourth disciple Kāmardhi (Kodāla Gotra) brought in Vaisavātika gana having four Sākhās-Sravastikā, Rājyapālitā, Antaranjiyā, Kyaumiliyā and four Kulas- Gaņika, Meghika, Kāmarddhika and Indrapuraka66. The fifth disciple Rsigupta (Vāsiştha Gotra) from Kākandaka introduced Mānava gaña having four sākhās.- Kāśyapiyā, Gautamiyā, Vāsişthiya and Sauratthiyā. Its three Kulas were Rşiguptika, Řșidattika and Abhijayanta67 The sixth and seventh disciples Sthavira Susthita and Supratibuddha (both having Vyāghrāpatya Gotra) introduced the very famous Kottiya/ Koţika gaṇa with four branches- Ucchānāgari, Vidyādhari, Vājri and Madhyamā. Its four Kulas were Brahmaliya, Vastraliya, Vānijya and
65 P. Kalyanvijaji, op.cit. Gatha 210, 211. 66 गणियं मेहिय कामड्डियं च तह होइ इंदपुरगं च
yg dhaifu - TUR E f 3 ghoils 118 11 288 || Kalpatheravali. 67 sf4562 467, faszi sfucrare qui
alget a 311452id, fafa M TRT 118 11 784 11 Kalpatheravali.

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Praśnavāhana68 The Gaņa of both Sthaviras came to be known as Kottika as they were the residents of Kottivarsa nagara and Kākandi nagara respectively. There further genealogy informed us that they opened new Sākhās to propagate Jainism. The names of the Sadhus with their related ganas and/or branches are given in the brackets. Susthita and Supratibuddha had five disciples69. 1. Ārya Indradatta (Kasyapa gotra) 2. Priya-grantha (Madhyamā Śākhā) 3. Vidhyādhara Gopāla (Kasyapa g. Vidyādhāri Sākhā) 4. Rșidatta 5. Ārhamadatta. Ārya Indradatta's disciple was Ārya Datta (Gautama gotra). His disciple Šāntiśrenika (Māțhara-gotra) introduced Ucchānāgari Sākhā. Arya Sinhagiri (Kausika-gotra) was having knowledge of Jātismarana i.e. Knowledge of past, present and future period. Ārya śāntiśrenika had four insightful disciples :1. Ārya Śrenika (sākhā Ārya Śrenikā) 2. Ārya Tāpasa 3. Ārya Kubera (sākhā Ārya Kuberā) 4. Ārya Rșipālita (sākhā Ārya şșipālitā) Ārya Sinhagiri had four disciples - 1. Ārya Dhanagiri 2. Ārya Vajra 3. Arya Samita 4. Arya Arhamdatta. Out of them two introduced Sākhās. Ārya Samita started Brahmadipikā śākhā and Arya Vajra (Gautama gotra) introduced Ārya Vājrīi Śākhā. Ārya Vajra had three disciples introduced one śākhā each 1. Ārya Vajrasena (sākhā - Ārya Nāgili). 2. Ārya Padma (Śākhā - Ārya Padmā). 3. Ārya Ratha having Vatsa gotra (sākhā - Ārya Jayantī). Ārya Ratha's tradition further continuedĀrya Ratha (Vatsa gotra) --- Arya Pușyagiri (Kauśika .gotra) ---Arya Fälgumitra (Gautama gotra) --- Arya Dhanagiri (Vāsiștha gotra) --- Ārya Sivabhuti (Kautsa gotra) --- Arya Bhadra (Kāsyapa gotra) ---Ārya Nakṣatra (Kāsyapa gotra) ---- Aryarakṣa (Kāsyapa gotra) ---Arya Nāga (Gautama gotra) --- Arya Jehil (Vāśiştha.gotra) --- Arya Vișnu (Mathara
68 मढमेत्थ बंभलिज्ज (बंभदासिय) तियं नामेण वच्छलिज्जं तु।
fafarei qui aiful voi urezi EUR 118811 Kalpatheravali. 69 थेराणं सुट्टिय-सुपडिबुद्दाणं कोडिय काकंदयांणं वग्घावच्चसगोत्ताणं इमे पंच थेरा अंतेवासी अहावच्चा
अभिन्नाया होत्था, तं जहा : थेरे अज्जइंददिन्ने, थेरे पियगंजे, थेरे विज्जाहर गोवाले कासवे गोत्तेणं थेरे इसिदत्ते थेरे अरहदत्ते। थेरेहिंतो पियगंथेहिंतो एत्थ णं मज्झिमा साहा निग्गया । थेरेहितो विज्जाहर गोवालेहिंतो कासवगुत्तेहिंतो एत्थ णं विज्जाहरी साहा निग्गया ।।२१७।।

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gotra) --- Arya Kālaka (Gautama gotra). His two disciples were Arya Sampalita and Arya Bhatta (Both Gautama gotra). The geneology continued from Ārya Sampalita and Arya Bhatta. His sthavira disciple Ārya Vriddha (Gautama Gotriya) ---, his disciple Arya Sanghapālita (Gautama gotra) --- Arya Hasti (Kāsyapa gotra) - Ārya Dharma (Suvrata gotra.) --- Arya Sinha (Kāsyapa gotra) --- Ārya Dharma (Kāsyapa) --- Arya Śāņdilya..... In this Kalpatheravali, a list of 33 Pattadharas (friars) from Sudharmā to Šāņdilya is given with their qualities and epithets. Theravali is compiled by Devardhigani who was 34th Ācārya. He has mentioned names of all the Ācāryas with Guru-desciple tradition in prose format. The given genealogy from Sudharmā to Sāndilya is by Ācārya Devardhigani who didn't include himself in the list. After the completion of prose part there is a prayer in hymn form to adore Anuyogadharas and Yugapradhāna Acāryas. All fourteen verses of the said hymn contains homage70 to knowledgeable Great Sthaviras of merit of any Ganas and Kulas. This prayer seems to be added later on by some disciples to honour and regard the sthaviras. The last four verses of the said hymn restrained the names of Ksamāsramaņa Desigani, Sthiragupta, Kumaradharma and Devardhigani who were venerated with head down. (Te vandiuna sirasa, tam namam sami. tam Panivayāmi.) Suppose if the said hymn is composed by Devardhigani Kşamāśramaņa then he would not have adored or praised himself as occurs in last fourteenth stanza71. Therefore it appears that after Devardhigani some devotee might have composed and added to main Therāvali part. As per the author of Pattāvali Paraga, Ācārya Kalyānvijayaji and the critics of this sutra, that the prose part of Sthavirāvali was formed before Devardhigani,72 but narrated in sūtra by him.
70 "gifH fH a, T uff 7 afg
कोच्छं सिवभूई पिय, कोसिवदोज्जिंतकण्हे य ।।१।। ते वंदिऊण सिरसा, भदं वंदामि कासवसगोत्तं । णक्खं कासवगोत्तं, रक्खं पि य कासवं वंदे ।।२।। वंदामि अज्जनागं च, गोयमं जेहिलं च वासिटुं ।
विण्डं माढरगोत्तं, कालगमवि गोयमं वंदे ।।३।। 71 repertifs, q46446 TUFË FT
देविड्ढिखमासमणे, कासवगुत्ते पणिवयामि ।।१४।। 72 Ibid, pp. 32, 33.
Patļāvali Paraga, pp. 29
Ibid, pp. 30

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6.12 Agama Vacanā:
The friars passed on Jaina's Ardhamaghadhi literature through oral recitation. As per available references five Agama Vācanās (councils) were held. These were on the Nirvana of Mahāvīra Samvat 160 to 980 or 993 at Pātaliputra, Kumārihill, Mathurā and twice at Vallabhipur respectively. Being a vast country, here many local languages coexisted since ancient time. The chief languages used by the people of Magadha were Prakrit, Pali and Sanskrit. In due course Prakrit language under went changes and the Prakrit spoken in half territory of Magadha was known as Ardhamāgadhi, while the same used by people of Sursena-desa which includes Sauripura, Mathurā and Āgrā was recognised as Saurseni Prakrit. Besides Magadhi language, Jaina canons were influenced by other dialects also, hence called Ardhamāgadhi. The Prakrit grammar used in inscriptions is mixed with dialect used by the donors who had installed the images and other sculptures.
181
"
It is believed that basic Agama literature Anga was elucidated by Tīrthankaras and arranged in sutras by Gaṇadharas, since then these Angas became the wealth of Acāryas so also called Ganipitakas73. The other name for the same is 'Dvādasangi' as they are twelve*. (Acaranga, Sūtrakritānga, etc.) Anga-bahya (other than basic) Agamas were codified by Purvācaryas over a period of time.
-
6.13 The Classification of Agamas:
The Ardhamagadhi Agamas are classified into Anga74, Upanga, Mulasūtra, Chedasūtra and Prakirņaka in later period (12th century approx.). Angasūtras:
The Angas are 12/twelve so the group calls Dvadasangi as per Svetambara sect. Digambaras recognised all Angas but at the same time they believe that they were manipulated and not original. They accept Surya-prajñapti, Jambudvipa-prajñapti, Candra-prajñapti under the Drastivada Anga.
73 Acārya Mahaprajña- Jain Parampara ka Itihas- pp-65.
74 12 Angas (1) Ayāra/Acārānga (2) Suyagad/ Sūtrakrutānga (3) Thāṇa/Sthānanga (4) Samavāyanga (5) Viyaahapannati / Vyakya prajñapti / Bhagavati (6) Nāyādhammakahão/ Jñātādharmakathāh (7) Uvāsagadasão/Upāsakadaśāh (8) Antgadadasão / Antakritadaśāh.
(9) Anuttarovavāidasāão/Anuttaraupapātikadaśāh (10) Paṇha-vāgaraṇāi / Praśna-vyākarāṇi (11) vivagasuyam / Vipākasrutam (12) Drastivādah / Ditthivaya.

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Upāngasūtras: The Upangas75 are also twelve in numbers. The Svetāmbara sect acknowledges them while Digambara sect do not. Mūla/basic Sūtras: In general four sūtras are considered as basic (Mūla) - 1 Uttarāddhyayana 2 Daśavaikālika 3 Āvaśyaka and 4 Pinda-niryukti. Svetāmbara tradition has two more sects- i) Sthānakavāsi and ii) Terāpanthi. These both sects believe first two Mūla Āgamas but do not consider Āvaśyaka and Pinda-niryuktis as basic (Mūla) sūtras but instead Nanndi-sūtra and Anuyogadvāra-sūtra are considered as basic. Digambara tradition acknowledges Daśavaikālika, Uttarādhyayana and Avaśyaka. The Digambara commentaries of Tatvārtha, Dhavalā and Anga-prajñapti have references of above three sūtras. Yāpaniya tradition had also recognised above three basic-sūtras and a commentary on Daśavaikālika in 9th century by Acārya Aparājita. Cheda-Sūtras: There are six Cheda-sūtras76 recognised by Svetāmbara Murtipujaka tradition. Svetāmbara Sthānakavasi and Terāpanthi acknowledge Chedasūtras except Mahaniśitha and Jitakalpa. Digambara and Yāpaniya included Kalpa, Vyavahāra and Niśitha sūtras in Angabāhya scriptures. Yāpaniya scriptures contain references and quotations: of above Chedasūtras. The Cheda-pinda scripture of Digambara sect concerning repentance basically of Yāpaniya sect accepting Jitakalpasūtra while acknowledging Kappa and Vyavahāra sūtra. In this way Digambara and Yāpaniya traditions had recognised Vyavahāra, Nişitha, and Jitakalpa. (At present Digambara Acāryas do not believeing in these sūtras.) The western scholors- Jecobi, Schubring etc. considered these Cheda-sūtras to be ancient.
75 12 Upangas: 1. 1. Uvavāiyam / Aupapātikam 2. Rāyapasenium / Rājprasneyim 3.
Jivābhigama 4. Pannavanā / Prajñāpanā 5. Sūrpannati / Sūrya prajñapti 6. Jambūdvīpa prajñapti 7. Chandapannti / Candra prajñapti 8. Niryavaliyasuyakkhandha / NiryavalikaSrutaskandha 9. Kappavadisiyao / Kalpavatansikah 10. Pupfiyao / Puspikah 11. Puphacūlao
/ Puspacālāh 12. Vanhidasāo (Vrasnidasāh).. 76 6 Chedasūtras:
i) Ayārdaśa (Daśāśruta-skandha), ii) kappa (Kalpa), iii) Vyavahāra, iv) Niśitha v) Mahaniśitha and vi) Jitakalpa.

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Prakirņaka Āgamas: There are ten scriptures that come under Prakirņaka 77 Āgamas. They are not recognised by Terāpanthi and Sthānakavasi sects. Out of ten Prakirņakas nine are available in Nandisūtra. The Digambara and Yāpaniya sects also do not recognise them but many Gāthās from Āturpratyākhyana and Mahā-pratyakhyāna are available in Sanksipta and Brihat Pratyākhyāna scriptures. The scripture Bhagavati-āradhanā also contains many Gāthās from Marana-vibhakti, Arādhanā-patākā etc. Culikā Sūtras: There are two scriptures known as Culikā-sūtras i) Nandisūtra and ii) Anuyogdvāra-sūtra. They are recognised by all sects of Svetāmbara tradition. Above 45 Āgamas are recognised by Śvetāmbara, who worshipped images. The other two sects - Sthānakavasi and Terāpanth believe in 32 Āgamas excluding Jitakappa, Mahā-niśitha, piņda -niryukti and ten Prakirņakas. The classification of Digambara and Yāpaniya Āgamas is based on Umāswāti's Tattvārtha-sūtra having similar system as in Nandisūtra.
6.14 The Antiquity of Āgamic Literature and Its Composition:
The first Vācanā took place at Pātaliputra in third century B.C. in the period of Sthulabhadra. This shows that at that time, Ardhamāgadhi Āgamas were already existing in oral form. This literature comprises much information of history from 5th B.C. to 3rd A.D. Dr. Harman Jacobi ascertained that oldest parts of Anga Āgamas are composed between 4th B.C. to 3rd A.D. He includes Agamas like Daśāśruta-skandha, Brihat-kalp and Vyavahāra too are codified by Bhadrabāhuswāmi. The last Vācanā was held at Valabhipur in Vira Nirvan samy. 980, under the leadership of Ācārya Devardhigaņi and was attendended and supported by 500 Ācāryas and their disciples. At that time all Āgamas were written either on copper plates or Bhurjpatras which were already existing in memory of seers, therefore it would not be justified to believe that Ardhmagadhi Agamas were set up in the time of Devardhigaņi.
77 10 Prakirņakas :
1) Catuḥsarana 2) Āturpratyakhyaña 3) Bhaktaparijna 4) Santaraka 5) Tāndul vaicarika 6) Candravedhyaka 7) Devendrastava 8) Ganividya 9) Mahapacchakhana 10) Virastava.

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In Jainism two Ardhamāgadhi Āgamas are considered to be ancienti) The first Śrutaskandha of Ācārānga-sūtra. ii) Rșibhasita. The sutra form of Ācārānga as well as its mode of language is more like Upanisad. In the view of Dr. Jain Sagarmal“The scripture Rsibhāsita has no sectarian thought, moreover it carries liberal view points proves its antiquity older than Suttanipata i.e. 4th to 5th century B.C., even life sketch of Mahāvīra is without any exaggeration and hyperbole. The first Śrutaskandha of Ācārānga-sūtra and Rşibhasita are older than Ashok's Prakrit inscriptions78 The scripture Rşibhāşita refers 45 Rșis like Narada, Parasara, Yajñavalkalya, Mahākasyapa, Mankhali Gośalaka with their spriritual belief and sermons without any sectarian thought. The other sūtra Sūtrakritānga refers to the differnt philosophical schools prior to 4th to 3rd century B.C. The Sthānanga sūtra is fashioned like Anguttara Nikāya of Buddhism. Such scriptural form is also considered to be ancient except the historical reference of seven Ninhavas which were added considering its importance during Vallabhi's last council. The scriptures Candra-prajñnapti, Surya-prajñapti and Jambūudvīpa prajñapti have detailed discussion about astronomy as in Vedānga establishing their antiquity. Jinabhadra had rewritten the Mahāniśitha-sūtra damaged by termites at Mathurā as per Vividha tīrtha kalpa of Jinapraprabhasūri of 14th century after visiting various sacred religious places. This reference even concludes that at the time of Māthuri Vācanā, some scriptures were written and stored at Deva Nirmita Stūpa which was read and rearranged by Jinabhadra Kşamāśramaņa. His period is discussed by Shah U. P. as per the installation of some of the Akota bronzes by him. Accordingly the period of first Jinabhadra was between c.500-550 A.D. and the second between c. 550-600 A.D.79 At Mathurā the image of Sarasvati holding a manuscript was established in Kuşāņa period also strengthens the antiquity of writing of śruta in Jainism.
78 Jain S., “Ardhamagadhi āgama sahitya ek vimarsha," in Jaina Vidya ke Ayama part-6, 1998. 79 Shah U.P., Studies in Jaina art, pp. 19 and fn. 2.

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185
The indication of modification and addition is clearly available in Sthananga scripture, wherever the disagreement (9784) was noticed among two Vācanās, it was mentioned with the words "rofitent vot" While studying the scriptures it is observed that available data, & mode of language etc. throw light on the original part and added portion. In Āgamas most of the information from 4th - 5th B.C. to 5th A.D. is preserved safely. The Mahārāshtrī influence on Āgamas is because of the writers, commentators and seers who travelled in Mahārāstra and Karnataaka. Pronunciation of words in various regions are also responsible for linguistic change in Āgamas as Jaina monks are moving from place to place (vihāras). Āgamas were written on tree bark or copper plate at vallabhi's last vācanā. Writing scriptures using such requisites was considered unlawful activity for ascetics they too were pronounced penance for such work. Therefore Agama literature was totally based on Śruta tradition carried forward by Anuyogadharas upto 1000 years after Mahāvīra Nirvāna, which were later on written during Valabhi's last Vācanā.
6.15 The Basic Language of Agamas:
The Birth place of Mahāvīra was Magadha. He delivered sermons in Māgadha and surrounding area in people's language (1054191) so naturally his religious discourses were in either Māgadhi, Ardhamagadhi or mixed dilect. There are some remarks in Āgamas regarding the speech of Mahāvīra, Ardhamāgadhi1. भगवं च णं अध्दमागहीए भासाए धम्ममाइक्खइ।
- Samvayanga 34, sūtra - 22 2. गोयमा! देवाणं अध्दमागहीए भासाए भासंत्ति सवियणं अध्दमागहा भासा भासिज्जमाणि विसज्जति।
- Bhagavaī, śataka 5, Uddeśaka 4, Sūtra - 93 3. “Bhagwan Mahāvīra delivered his speech in Ardhamagadhi”80. 4. “3 Mart Hereits got 34a HU 378fArtef 191 # 73To81
80 Bodha Pahuda commentry by A. Srutasagara. 81 Jain Dharmdarsana - Shri Pramana Sagarji, also Jain Vidya ke Ayam - P.P. 21.

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Sayings of Buddha : The birth place of Bhagavan Buddha is Magadha and like Mahāvīra he also delivered his sermons in Magadha and neighbouring area. As per Buddhaghosa 82.
सा मागधी मूलभासा नरायाय आदिकप्पिका।
ब्रम्हणो च अस्सुतालापा संबुध्धा चापि भासिरे ।। Meaning -
Māgadhi is basic Language which originated at the time of birth of universe, not only Brahma (deities) but also children and Buddha
talk in this Language. Thus Buddha's sayings were originally in Māgadhi, Pali is cultured literature form of the same, The ancient literature of both are very similar, during that period Saurseni was not developed as a separate language form but was just a dilect used by people of Surasenadesa. Sauurseni developed in literature form in 3rd century A.D. This is the reason that Ashok's inscription (3rd Century B.C), Kharwel's inscription (2nd Century B.C.) and most of the Mathurā's image inscriptions have used 'Na' (Namo Arihanatanam) not ‘ņa'. In General in the saurseni, ņa (9) is used instead of Na (a) On seeing Mathurā's inscriptions it seems that all Saka era's inscriptions are in Ardhamāgdhi. Mathurā was considered as a chief business centre in Saursena-deśa where Saurseni prakrit was originated, then also it was not used for writing. Even the 'Sanskrit' and 'Prakrit' words themselves suggest that which is basic, origin and near to nature i.e. prakriti, is definitely 'prakrit' and which is cultured, embellished with idioms having
perfection of grammar - surely Sanskrit. 6.16 Yāpaniya and Digambara Scriptures:
The Āgama literature of Yāpaniya and Digmbara's are as followsYāpaniya scriptures: 1) Kasāya-pāhuda appr. 4th century A.D. Guņadhara 2) Satkharda-Agama early 5th century A.D. Puspadanta and Bhutabali 3) Bhagavatī- Ārādhanā, 6th century A.D. Śivarya 4) Mulācāra,
6th century A.D. Vattakera
82 The Preface to the children's Pali Dictionary, Also Dr. Sagarmalji Jain Vidya ke Ayam
PP-36.

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187
Digambara Scriptures: 5) Samaya-sāra 6th A.D. Appr Kundkunda 6) Niyama-sāra
6th A.D. Appr. Kundkunda 7) Pravacana-sāra 6th A.D. Appr. Kundkunda 8) Pañcastikāya-sāra 6th A.D. Appr. Kundkunda 9) Aşta-pāhuda
c. 6th A.D. Appr. 10) Tiloya-paņņati after 6th A.D. Yativrașabha 11) Lokavibhāga 12) Jambudvīipa-pannati after 6th A.D. 13) Anga- pannati 14) Ksapaņa-sāra 15) Gommata-sāra 10th century
6.17 The Table of Āgama Vācanā at a glance: TABLE OF FIVE AGAMA VĀCANĀS
Period
Vācanā Number First Vācana 160 years
after
Mahāvīra Nirvana
Place Leadership Reason for Details Of Vācanā
Vācanā Pataliputra (now Jaina Sangha (The drought JĀcāryas gathered and known as Patnā)
continued for rearranged 11 Angas 12 years in except Drastivada Magadha and as no one regained surrounding same in memory areas resulted in except Bhadrabahu-1. loss of memory. He was at Nepal
performing severe austerity. He explained half Drastivada and 10 purvas to Sthulabhadra, when Jain Sangha insisted, remaining half drastivad and 4 Purvas, he gave only sūtras without any explanation. The other matter included as anga-bahya in scriptures.

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Vācană Period
Place Leadership Reason for Details Of Vācanā Number
Vacanā Second After 300 Khandagiri/ Might be Nearly 150 We do not have proper Vācanā years of Kumari hill in King Kharwel years after information regarding Mahāvīra Kalinga now
the famous this Vācanā. Only Nirvāṇa, in Orissa near
war between available information is i.e. held in Bhuvanesvara
Kalinga and Kharwel's inscription 2nd B.C.
Magadha, where stating- forgotten Kalinga won the Angasaptika scripture battle against was rearranged with Magadha. the help of Vācanā by
seers to keep them in
order. Third 827 years Mathurā
Ārya
Two reasons Acharya Skandila is Vācana after
Skandilācārya are given in requested by Jain Sangh Mahāvīra
Nandicūrni- to present Vācana Nirvāṇa i.e.
I) After the which also known as 3rd century
drought of "Vāenā". At that time A.D.
many years, scriptures were not the Vācanā of fully remembered by KALIK SUTRAS seers. The Sadhus who was performed. were moving in North, II) Sūtras were East and Central India not lost but gathered at Mathurā for Anuyogadha- Vācanā assembly. ras were not survived except Ācārya Skandila, so he made
Agama Vācanā. Fourth 827years Vallabhipur Ārya
The same as The period same as Vācanā after
Nāgarjuna above.
above mentioned, the Contem- Mahāvīra
sadhus who were in porary of Nirvāņa i.e
viharas in South and third Vācanā 3rd century
West zone assembled at (Nagarjuniya A.D.
Vallabhipur in Gujarat Vācanā)
for Vācanā. Fifth Vācana 980 years Same as above Ācārya To write the 500 Ācāryas attended after
Devardhigani Agamas before the council with Mahāvīra
Kşamāśramana losing them their at least four Nirvāņa
from memory of disciples to write and nearly
seers.
the scriptures. Here about 150
previously performed years after
two Vācanās were also third and
united and wherever the fourth
difference/disagreement Vācanā.
is noticed they were assimilated with the words "Nāgarjuniyāstu Pathanti."

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189
Some Notes: Uttarādhyayana, Rşibhāṣita, Daśāsrutaskandha, Kalpa, Vyavahāra, Nisitha, etc. are considered as 'Kālika-sūtras' means they are to be read at particular SWADHYAYA TIME. The influence of Saurseni dilect on Agamas might have occured after Māthuri Vācanā. The Nandisūtra informs us that Ārya Skandila's Anuyoga was popular in Southern India. This also led to the theory that Yāpaniya sect might have recognised them as they are in Šaurseni Prakrit without much influence from Mahāraştri Prakrit.
6.18 The tradition of preceptors as observed on inscriptions (Table)
To comprehend the Brahmi inscriptions, published in Epigraphia volumes and other publications, following charts with corresponding Jain Shilalekha sangraha part-II nos., accn nos. of museums with important details, figure nos. of this book, year of commencement, etc. will surely be
useful. Epigraphia Indica Volume I
Year Kuşāņa
24
29 31
19 20
35 37 42
29
35
60 or 40
Sr. Inscription Luders' Jaina Acen nos. of Figure nos. of this book and no. nos. of EI List nos. Silalekha Museum
type Vol. - I
Sangrah-II,
nos. 18
19
L M. J. 5 Vardhamāna 26 L M. J. 230 Sarvatobhadra, Maighika kula
L M. J. 232 Sarvatobhadra. Shantinatha L M. J. 10 Only feet, brahanta vacaka L M. J. 12 Image L M. J. 14 Vardhamāna, Vārana gana
L M. J. 16 Vardhamāna 56 L M. J. 26 Fig. 88, Rşabha, Arya
Vriddhahasti. 45 L M. J. 25 Pārsva, tree at back
L M. J. 17 11
L M. J. 32 12
L M. J. 33 Only feet 13 121
Rşabha, Ucchenāgari. 14 84
Fragment, Kottiya Gana.
Vardhamāna, Image 17 108
Torana- Lahastini. 85
Śilāpata, Dadhikarna 21
L M. J. 6 20
L M. J. 31
44
10
70
71
87 or 80
15
112
75
14
31

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190
Sr. Inscription Luders' no. nos. of EI List nos.
Vol.
I
20
21
22
23
24
25
21
22
26 27
27
28
28
29
29
30
30
31
31
32
32 33
33
34
34
35
35
New
23
24
25
26
ཞིའི་ཆ་བ་འ
ཅིནིཆེཌི
1
2
3
4
5
54
75
113
678
66
87
114
9
10
11
12
115
28
30
45
86
94
116
95
45a
Sr. Inscription Luders' Jaina nos. nos. of EI List nos. Vol. - II
Šilalekha Sangrah-II,
nos.
4
5
93
59
83
99
100
The Jaina Stupa at Mathura: Art & Icons
101
111
103
Jaina Šilalekha Sangrah-II,
nos.
96
104
16
17
68
76
70
77
78
79
30
47
80
81
J.252
L M. J. 19
Epigraphia Indica Volume-II inscription numbers with Luders List and Jaina Śilälekha Sangrah part-II and other details
15
13
16
10
17
Accn nos. of Figure nos. of this book and Museum type
18
L M. J. 24
L M. J. 623
L M. J. 30
L M. J. 9
L M. J. 11
L M. J. 18
Image, Kotika, Veri,
Vāraṇa Gaṇa
Kotika Gana,Ucchanagari
The dedication of an image by Dasa putra Ciri
Vardhamana Thaniya kula.
Fragment, Ayägapata Gotiputra
Fragment, Ayagapata Nandigosha
L M. J.3
L M. J. 4
Accn nos. of Figure nos. of this book Museum
L M. J. 1 Fig. 33, Aryavati
Year Kuṣaṇa
95?
98
Sivayasha Ayagapata
Ayagapata Mathuraka

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191
Figure nos. of this book
13
25
49
14
50
Sr. Inscription Luders' Jaina Accn nos. of nos. nos. of EI List nos. Silalekha Museum Vol. - II
Sangrah-II,
nos. 48
L.M. J 231
L.M. J.8 40 L M. J 15
L M. J. 233 52 17
L M. J. 21 53 18
L M. J.27 20
L M. J. 20 L M. J. 6
51
16
37
54
19
47 67
22
M.M. B. 5
58
23
59
25
80 35
61
26
62
30
33
Vardhamāna by Vādhisiva
L M. J. 34 24 77
L M. J. 35 60
L M. J. 13 27 81 63
117
110 65
105 31 106 107h, 107g
MM. B.68,
B.69 68
118
84 69 34
119 70 35 120 71 36 50 72 37 122
L M. J. 22 73 38
55 74 39
L M. J. 36 Indian Antiqury Volume - 33
Sr. Inscription Luders' Jaina Accession Nos. nos. of List nos. Silalekha nos. of Ind. Anti.
Sangrah-II, Museum Vol.-XIII
nos. 18
LM.J 5
MM. B. 70 77 6 22
Figure nos. of this book
75
76
19

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The Jaina Stupa at Mathura: Art & Icons
Figure nos. of this book
Sr. Inscription Luders Jaina Accession Nos. nos. of List nos. Silālekha nos. of Ind. Anti.
Sangrah-II, Museum Vol.-XIII
nos. 8
82
57
84
68
48
Indian Museum
Calcutta. 83 20
MM. B. 2 85
72
76 25
79 97
L.M. J.8 30 102
L.M. J.15 Inscriptions published in other volumes
89
Figure nos. and other details Saka year
of Establi.
Sr. Inscription Luders' Jain Shila. Accn nos. nos. nos. in. List no. no.
Vol. - 90 45a
J.19LM. 82
J.81LM. 69a
B.3MM. J.2MM.
78
Fig. 121
299 of unknown era
20
40
Vāraņa gaña, Arya Hattakiya Kula, Vajanagari Sākhās, Shilāstambha by Jayanaga's dharmapatni Sihadata.
96
Ep.I. X, no. - III
Ep.I. X, no. - IV
Inscribed Jaina Image of Kottiya gana Inscribed Jaina Image of Kottiya 12 gana Sambhavanatha
98
Ep.I. X, no. - V Ep.I. X, no. - VII
99
Inscribed Jaina Image of Arya Chetiya Kula
58

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193
Acen nos.
Figure nos. and other details
Saka year of Establi.
On back of a Jina, Munisuvrata 71
Sr. Inscription Luders' Jain Shila. nos. nos. in. List no. no.
Vol. - 100 Ep.I. X,
no. - VIII
Ep.I. X, no. - IX Ep.I. X, no. - X Ep.I. X, no. - XI
Sarvatobhadra from Ram Nagar 74
Jaina Image
80
Jaina Image, pedestal - kanha 99 sramana Coping stone - Sovanika
On a waist band of female
Inscribed slab
107
Ep.I. X,
no. - XII 105 Ep.I. X,
no. - XIV
Ep.I. X, no. - XV
Ep.I. X,
no. - XVI 108 Ep.I. X,
no. - XVII 109 Ep.I. X,
no. - XVIII 110 Ep.I. X,
no. - XIX
Image from Adhichhatra
Ayagapatha
Jaina Image
Words natti and pauttra are used Triangular fragment used number ashtasasta
Ep.I. X, no. - XX
6.19 The Tradition of śramaņas with Three Gaņas – (Kottiya, Vāraṇa
and Udeha) as observed on Mathurā Inscriptions: As we have seen at the time of Mahavira there were Ganas with their heads gañadharas but not the kulas. The reason behind is that, the gañadharas were handing over their gaņas (a group of ascetics) to Gañadhara Sudharma (blessed with longetivity) and they were called the disciples of sudharma which continued upto Bhadrabahusvāmi -I. In his time śramaņas increased so one of his disciple Godas first time introduced Gaņa known as Godasa. Afterwards other Gaņas Kotţika, etc. came into existence by his disciple traditions. Three Gaņas – Kottiya, Vārana and Udeha with their respective kulas and sākhās of seers are available on Mathurā Inscriptions are given -

Page #195

194
The Jaina Stupa at Mathura: Art & Icons
Kotika gana
Brahmadāsika
|Kula
Sthāniya Kula
Vatsaliya
Kula
Praśnavāhanaka
Kula
Vāraņa Gaņa
Ārya Arya Hattakiya Bhistakula
Kula
Arya Cetiya kula
Pusyami-
triya Kula
Ātāpika Kula
Nadika Kula
Pritivar- mika Kula
Arya Kaniyasika
Udeha Gaņa
ParidhäsikaKula
Ārya Nāgabhutikiya
kula
Kottiya gana with its details 1. Brahmadasika Kula (Its Śākhā is Ucchenāgari) 2. Sthāniya Kula (Its sākhā is Vairi) 3. Vatsaliya Kula 4. Praśanavāhanaka Kula (Majhamā sākhā)
Vārana Gana with its details 1. Ārya Hațțakiya Kula 2. Arya Bhistakula 3. Ārya Cetiya kula 4. Pușyamitriya kula 5. Ātāpika Kula 6. Nādika Kula 7. Pritivārmika Kula 8. Ārya Kaniyasika
Udeha gana 1. Ārya Nāgabhutikiya kula 2. Paridhasika Kula

Page #196

The Early Epigraphic Records of Mathurā
195
LM.
Kottiya gana with its details Luders' Jain Type of Image Accn Figure Saka year Requested by Sākhā and List nos. Sila. nos. nos. of establi.
other details nos. 1. The Brahmadasika kula with Ucchenāgari Śākhā of Kottiya gaña
comprises of images18 19 Vardhamāna J.5 LM.
Sadhacari Ksuda Ucchenāgari 192 0 Image B.70
Ucchenāgari MM.
Srigraha
Sambhaga 20 21 Image B.71
Arya Kşeraka, Ucchenāgari MM.
pupil of Mihila 29 31 Standing Jina J.10
Vācaka Arya Ucchenāgari, Siha, pupil of A. SrigruhaDatta-A. Ogha sambhoga great Vac. And
Gani jamitra. J.12
25 Graha-Sisini of Ucchenāgari.
Sadhi, pupil of
Arya Balatrata 70 Seated Jina J.35
Ucchenāgari. LM. 121 Ushabha
Ārya Sama Ucchenāgari, Rishabha
Sisini of SrigrahaArya Gadhaka sambhoga
Jyesthahasti 122 Sarvatobhadra J.235
Vācaka Kseraka pupil of Arya Mihil of Arya
Jesthahasti. Sthāniya kula with Vairi sākhā of Kottiya gaña observed inscriptions are given below: 25 Image
Vācaka Naganndi Vairi Sākhā
35
-
32
LM.
29
9
Vairi sākhā
Santi (Natha) Pratima Sarvatobhadra
J.232 LM.
Vācaka Matridina the disciple of Baladina Vācaka Samghasimha
28
30
J.9 LM.
Vardhamāna standing
Vairi Sākhā, Sirikāa Sambhaga Ārya Vairi Sākhā
36
40
J.15
310r30
Ārya (Go) dasa
39
4 2
Vardhamāna
J.16
LM.
Arya
Vairi Sākhā, Kumarmitra, the Sirika Sambhoga female pupil of Arya Baldina

Page #197

196
The Jaina Stupa at Mathura: Art & Icons
Requested by
Luders' List nos.
Figure Saka year nos. of establi.
Säkhă and other details
47
Jain Type of Image Accn Sila.
nos. nos. Arhat
J 20 nandavarta or LM.
Munisuvrata 54 Lakşmi
49
53
54
55
Sarasvati
Ārya
Vaira Śākhā Vriddhahasti- the Vācaka Vācaka Arya Vairi Sākhā, Deva, companion Srigriha of Ganin Ā. Sambhaga Manguhasti, the pupil of Vācaka A. Gastuhasti (Hastahasti) Vacakācārya Vairi Sākhā, Deva, companion Srigriha of ganin Ā. Sambhaga Māghahasti, the pupil of Vācaka Hastahasti The ganin
Vairi Sākhā Ārya Kharņa the pupil of Ā. Vriddhahasti Vācaka Dhamatha the Vairiģākhā female pupil of Arya Arha
56
56
Rşabha
68
Vardhamāna
3.
Vatsalika Kula of Kottiya gana 25 27 Sarvatobhadra J.231
LM.
A ganin .... Sambhoga and Vatsaliya kula
4. Praśnavāhanaka Kula of Kottiya gana 73 66
B.5 MM.
Bhattibala, Majhamā Sākhā,/ Praśnavāhanaka Madyamā Sākhā kula,

Page #198

Vāraṇa Gaṇa with its details
Luders' Jain Type of Image Accn Figure Śaka year Requested by
List no. Shila.
nos.
nos. of establi.
no.
1.
16
37
48
116
2.
50
3.
42
4.
34
The Early Epigraphic Records of Mathură
Arya Haṭṭakiya kula of Väraṇa gana
17
4
41 Sarvatobhadra
44
Silastambha
32
40
Arya Bhistakiya Kula of Varana gana 52 Vardhamana
50
Arya Cetiya kula of Vāraņa gaṇa
45 Sarvatobhadra
44
Bhagavat Vardhmana
Puşyamitriya kula of Vāraṇa gaṇa
37
29
The female companion of Simhamitra, the female pupil of Sathisiha (Sasthisiha) the female pupil of Puşyamitra
Ganin Arya Nandika
Request of Akakā, the female pupil of Nanda and Balvarma. She was the female companion of Mahanandi, disciple of Datti.
Ghakaraba the female pupil Arya Jinadasi, the female pupil Samadi who was pupil of Dinaragreat preacher and ganin. By Vijayaśree
Nagsena pupil of Haganandi (Bhaganandi) the preacher
Gahaprakiva pupil of ganin Arya Datta dedi. by Bodhinadi
Śākhā and
other details
197
Vajanagari (Vajranagari). All are women disciples of
Pusyamitra- here female pupile tradition is given.
Established by
the wife of Prātārika
Vajanagari, Siriya Sambhoga.
Vajanagari, Arya sirikiya. Sambhoga
Samkasiya Sakha, Sirigriha Sambhaga.Here mentioned year 50 may be 7. Ep. In. X pp10 by Bulhar as noted.
Haritamalakadhi Śākhā
Sākhā is not mentioned

Page #199

198
The Jaina Stupa at Mathura: Art & Icons
Requested by
Figure Saka year nos. of establi.
Sākhã and other details
Luders' Jain Type of Image Accn List no. Shila.
nos. no. 5. Atāpika of Vāraņa gaña
58
Ātāpika
Pupil in Vāraņa Grahabala who Gana was pupil of preacher Arya Karkuhasta, the donation is given by Vaihikā to caturvidha sangh. Atāpika
No separate Grahabala thekula is required pupil of preacher for their Arya karkuhasta introduction. of Vāraņa gaña. In above both records gana is mentioned but not kula so it seems that monk Grahabala, the pupil of preacher Karkahast was Ātāpika performing austerity in sunlight.
6.
117
Nādika kula of Vāraṇa gana
Bhagavat Rşabha
... śākhā.
Säditä sisini of ....dhuka preacher (vāyuka) name Gavedhuka occurs in Kalpasūtra
7.
Praitivarmika kula of Vārana gana
34 Vardhamana
Only mentioned of above Gana
and kula Sena the pupil Petivarmika Kula of Oghanandin who was preacher (Vācaka) in Vāraņa gana Sena the pupil of Oghanandi

Page #200

The Early Epigraphic Records of Mathurā
199
Säkhã and other details
Luders' Jain Type of Image Accn Figure Saka year Requested by List no. Shila.
nos. nos. of establi. no. 8. Arya Kaniyasika kula of Varana gana: 113
fragment
The Od.. kula
Sākha and other details
Udeha gana Luders' Jain Type of Image Accn Figure Saka year Requested by List no. Shila.
nos. nos. of establi. no. 1. Arya Nāgabhutikiya kula of Udeha gaņa 21 24
J.6 LM
Ārya Jaya, sister of Vācaka Sandhika, the pupil of ganin Arya Buddhasri, - Odehikiya Gaņa, Ārya Nāgabhutikiya
kula. 2. Paridhasika Kula Udeha gana 76 69 Mahāvīra
Ganin Arya Devadatta's Arya Ksema. The daughter of pravaraka and daughter in law of perfumer
198
Petaputrikā Sākhā
Luders
Kuşāņa
6.20 The table of image inscriptions with its details as noted in Luders
List and Jaina Śilālekha Sangrah-II, Epigraphia Indica, Indian Antiquary, etc. with the year of donation.
Jaina Accn. no. Ep. I. In. Ant. Other Details List nos. year of est.
est. Silalekha of Museum Volume Volume Volumes Sangrah-II,
nos. 16 S. 4 17 J. 3 LM II- no. 11, 33, P. 33.
p. 201. no. 1. S. 5 18
J. 4 LM II- no. 12, 33, p. 33.
p. 201. no. 2. S. 5 19 J. 5 LM I, no. I. 33, p. 34.
no. 4 S. 5 or 35 20 B. 70 MM
33, p. 36, ASR. III, p.
no. 5. 30, no. 2. 20 S. 5 B. 71 MM
ASR. III, p. 31, no. 3.
pl-XIII

Page #201

200
The Jaina Stupa at Mathura: Art & Icons
Details
Ep. I. Volume
In. Ant. Volume
Other Volumes
Luders Kuşāņa
Jaina Accn. no. List nos. lvear of est. Silalekha of Museum
Sangrah-II,
nos. S. 7 24
J. 6 LM
I. p. 391, no. 19.
S. 9
33, p. 37, no. 6,
ASR. III, p. 31, no. 4,
S. 10
IX, p. 239241. I, p. 382, no. 2.
S. 15
26
J. 230 LM
ASR, new v. XX, p. 46.
S. 1827
J. 231LM
Sarvatobhadra.
S. 18
28
J. 8 LM
33, p. 33, no. 3.
II, p. 202, no. 13 II, p. 202, no. 14. I, p. 382, no. 3. I, p. 395, no. 28
s. 1929
J. 232 LM
S. 20
30
J. 9 LM
ASR. v. III, Ip. 31, no. 6, pl. -13.
S. 20
J. 10 LM
I, p. 383f, no. 4 I, p. 395, no. 29
S. 22
33
J. 11 LM.
ASR. v. III, p. 32, no. 7, pl. 13.
S. 22
.
34
I, p. 391, no. 20
32
S. 25
33, p. 37,
no. 5
no. 7
S. 28
no. 1
33, p. 38, Growse, no. 8. Also MathurāVI, p. 217, II, p. 173.
Roy. A. So. 1903, p. 330, 331. Royal As. So. 1903,
p. 331. 33, p. 38 correction
34
S. 29
3 7
J. 14LM
1, p. 385, no. 6
35
S. 2938
J. 13 LM
S. 31
J. 15 LM
II, p. 206, no. 26. II, p. 202, no. 15 II, p. 203, no. 16
37
S. 32
41
J. 233LM
Buddhist
S. 33 S. 35
142
J. 16 LM
I, p. 385, no. 7.

Page #202

Luders List nos.
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
Kusana year of est.
S. 35
S. 38
S. 44
S. 45
S. 45
S. 47
S. 48
S. 49
S. 4-.
S. 50
S. 50
S. 50
S. 51
S. 52
S. 54
S. 57
S. 60
S. 62
S. 62
The Early Epigraphic Records of Mathura
Jaina Accn. no. Šilalekha of Museum Sangrah-II,
Ep. I. Volume
nos. Buddhist
43
45
Buddhist
46
47
59
52
Buddhist
Buddhist
55
56
57
58
J. 25 +J. 113
J. 17LM
J. 18LM
J. 20LM
J. 234LM
J. 22LM
J. 22LM
J. 24LM
J. 26LM
J. 27
I, p. 387, no. 9 and
v. II p212
I, p. 387, no. 10
I, p. 396, no. 30
II, p. 204, no. 20
II, p. 209, no. 36
II, p. 209, no. 36
IX, p. 244-f33, p. 103-f
no. 15
I, p. 391, no. 21
II, p. 210, no. 38
In. Ant. Volume
II, p. 203-f, 33, p. no. 18
I, p. 386, no. 8
33, correction
by Luders,
p. 40f, no. 10.
II, p. 204, no. 19
33, p. 103, no. 14
104-f, no. 16.
33, p. 103, no. 14
VI, p. 218, no. 5
33, p. 105, no. 18
33, p. 105-f, no. 19
Other Volumes
ASR, III, p. 33, no10.
ASR, v. III, Setting up
no. 9, pl-5. Nandivishala for worship of Arhat.
R. As. So.
V. LXVIIp276
Royal As. So. 1903, p-327
GrowseMathura, p.
128-f
201
Details
Vāraṇa
Gaṇa,
Haritmala
Śākhā
Sarasvati image

Page #203

202
The Jaina Stupa at Mathura: Art & Icons
Details
Ep. I. Volume
In. Ant. Volume
Other Volumes
Luders Kușāņa
Jaina Accn. no. List nos. lvear of est. Silalekha of Museum
Sangrah-II,
nos. Sodas S. 72
J. ILM
59
II, p. 199, no. 2 I, p. 373, note-7
ASR-new, Āryāvati by
XX, p. 21. Amohini 33, p. 106f, no. 20
60
s. 74
S. 77
61, 62, 63, 64, 65 are Buddhist
66
S. 80
J. 30LM
67
S. 81
61
J. 30a LM
I, p. 392, no. 24 II, p. 204f, no. 21
33, p. 107, no. 21
S. 83
62
B. 2 MM
S. 83
ASR, III, p. 34, no. 17
S. 86
J. 32LM
I, p. 388, no. 12
S. 87? S. 87
33, p. 108, ASR-III, no. 22 p35, no. 18
S. 90
S. 93
II, p. 205, no. 23 II, p. 205, no. 23. I, p. 392, no. 22
75
S. 95
J. 623LM
ASR-new Imp. XX, p. 24, pl
XVII, 2. 33 p. 108, ASR-III, p. Vārana, no. 23 35, no. 23 Odehikaya
Gana
76
s. 98
69
S. 98
II, p. 205, no. 24
J. 2 LM
S. 299 (of unknown era)
37, p. 33ff, ASR-III, p. Maharajasya plII, 31, no. 5, Rajadhi33, p. 149,
rajasya - no. 25
Mahāvira 33, p149, ASR-III, p. no. 25 3 1, no. 5
Huviskasya
II, p. 206, no. 25 II, p. 206, no. 27
Oghanandi

Page #204

The Early Epigraphic Records of Mathurā
203
Details
Luders Kuşāņa
Jaina Accn. no. List nos. year of est. Silalekha of Museum
Sangrah-II,
nos.
Ep. I. Volume
In. Ant. Volume
Other Volumes
IX, p. 246- 33, p. 149, 248
no. 24,
II, p. 199, no. 3
SodasPuskarani, Silapata 'Siddham Namostvarhat Maharaja Mahaksatrapam
33, p. 154, no. 32
Dadhikarna
I, p 389, no. 15 I, p. 390, no. 18 I, p. 396, no. 31 I, p. 392 f, no. 25
Arya Nagadatta
Buddhist Buddhist
Roy. So. no. 30 Roy. So. no. 31 prakrit
Pillar inscri.
II, p. 1984, no. 1 I, p. 396, no. 33
37, p. 49
Amogharaksita Uttardasika Torana Ayāgapata, Kosika, PothiyaSaka Ayāgapata
J. 252 LM
33, p. 150f, no. 27
I, p. 397, no. 35 II, p. 201, n0.9
6, p. 218, no. 4. Also 33, p. 151, no. 28
Buddhist
Torana
II, p. 199, no. 4
Vienna
PasadaJorn. V, p. Damaghosha 176

Page #205

204
The Jaina Stupa at Mathura: Art & Icons
Details
Ep. I. Volume
In. Ant. Volume
Other Volumes
Luders Kuşāņa
Jaina Accn. no. List nos. year of est. Silalekha of Museum
Sangrah-II,
nos. 100 Ayāgapata
Sivayasa
101
II, p. 200, no. 5 II, p. 208, no. 6
Stone slab
ASI, XX, p. 19 ASI, XX,
p. 25 33, p. 152, ASI, XX, no. 30 p. 61
Bhagavat Nemesa Loņaśobhikā
102
Āyāgapata
103
Āyāgapata
Māthuraka
II, p. 200, no. 8 II, p. 201, no. 10,
104
Sculptured panel
Jivanadatogether LL83 is Mahakşarapa time Sihanadika
105
Āyāgapata
106
Āyāgapata
Sivaghosika
II, p. 207, n0. 30 II, p. 207, no. 31 II, p. 207, no. 32 I, p. 390, no. 17
ASI, XX, p. 14 ASI, XX, p. 17 ASI, XX,
p. 18 33, p. 153 ASI, XX,
107
Āyāgapata
Bhadranandi
108
Lahastini
p. 29
Arch (torana) Waist band Pārsva
109 110
Viena, Jorn. Sthāniya V, p. 179 kula,
111
Prasasti
II, p. 207, no. 29 II, p. 207, no. 29 I, p. 389 f, no. 16 I, p. 392, no. 23
112
Vardhamāna
113
Vārana Gana
Ciri
I, p. 393
Arya Kaniyasika kula Son of Dasa Thāniya kula Vajanagari Sākhā
115
Vardhamāna
33, p. 35
116
Vāraņa Gana Uşabha
I, p. 393, no. 27 I, p. 397, no. 34, II, p. 206f, no. 28
117
Vāraņa Gana, nādika kula
118
Vardhamāna
II, p. 208, no. 33 II, p. 208, no. 34
119
Vardhamāna
Ārya Balattrata

Page #206

The Early Epigraphic Records of Mathurā
205
Details
Ep. I. Volume
In. Ant. Volume
Other Volumes
Luders " Kusāna Jaina
Accn. no. List nos. lvear of est. Silalekha of Museum
Sangrah-II,
nos. 120
121
Uşabha
II, p. 208, no. 35 I, p. 389, no. 14 II, p. 209, no. 37
mo1389,
Ārya Jyeshtahasti Ārya Jyeshhasti
Sarvatobhadra
VI, p. 219, no. 8
| 124
X, p. 109.
Sarvatobhadra Śaka- 9 Standing Jina Saka-12
Saka- 33
19. 20. 1565 MM
Śaka-35
B. 70
Saka-84
14. 490
Catalogue
Seven
Saka- 84
B. 4
Scythian Jina seated peri, fig. 56 Cat. Math. , Vācaka pp. 3, 2003. ayyana..
sisya 38. p. 36, ASR, III, p. Sarvato. no. 5
20. no. 2. Brahmadaka Math. Cat. kula
Pp-4 Ucchena. XIX, p. 67, Catalogue
Okharika pl 2 - new, MM, inscri.
p. 7, no. 5. Mathura Cat. MM, JAS, V, p. Bhagavato p. 11-12, 16, no. 8. Arhato no. 8
Rishabhasya Cat. MM,
Bhagavato. p. 14, no.
Vardha. 10 Cat. MM,
Vardhamāna p14 no11 Cat. MM. Kotiyato Standing p. 15. no. Vairi Sākhä image 12 Cat. MM. Vridha The name p. 36, no. vācaka of town 47
Abhisāra
Śaka-82
45. 3208
Śaka-90
46. 3222
Saka-109
48. 3305
Saka period
12. 276
Other Kuşāņa period images mentioned in Mathurā Museum catalogue (1993) are less important except two which states that I) established at Arhatacaitya and II) with the word Thāvayati for Pratisthāpita. Medieval images mentioned in the catalogue are described in other chapters of this book.

Page #207

206
6.21 Mathurā Image Inscriptions in Prakrit:
EPIGRAPHIA INDICA
No. I.
A. १.
B.
a.
b.
--
Translation
c.
The Jaina Stupa at Mathura: Art & Icons
55
दे [व] पुत्रस्य क [नि] ष्कस्य सं ५ हे १ दि १ एतस्य पूर्व्व []]यं कोट्टियो गणतो बह्मदासिका [तो ]
१. पालस्य धि []
२. वधमानस्य प्रति [ मा] ||
No. II
A. १.
B.
१.
C.
१. का शिशीनिनं अर्य्यसङ्गमिकाये शिशिनि
D.
१. अर्य्यवसुलये [ निर्वर्त्त ] नं
२.
२. [कु]लातो [3]चेनागरितो शाखातो से - हस्य- सेनस्य सहचरिखुडाये
दे [व]
[Success] In the year 5 of Devputra Kanishka, in the first (month of) winter, on the first day, – on that ( date specified as) above, - an image of Vadhamana (Vardhamāna) ( was dedicated ) by khuda (kshudra), consort of alderman (sethi)..........sena (and) daughter of Deva.. pala, out of the Kottiya gana, the Bamhadasika kula, the Uchenāgari śakhā.
--
सं १० ५ गृ ३ दि १ अस्या पूर्व्व []]
हिकातो कुलातो अर्य्यजयभूति
·
लस्य धी [तु] - श्रेष्टि[स्य] धर्मपत्निये भट्टि [से] नस्य
२.
२. [ मातु] कुमरमितयो दनं भगवतो []
Vol. I
d. २. मा सव्वतोभद्रिका [11]
Translation
-धु वेणि
[Success!] In the year 15, in the third month of summer, on the first day,- on that (date specified as) above, a fourfold image of the Divine one, the gift of Kumaramita (kumaramitra), daughter of... la, daughter -in-law of...., first wife of alderman (sreshnin) Veni, mother of Bhattisena, (was dedicated as) the request of the venerable Vasula, the female pupil of the venerable sangmika, the female pupil of the venerable Jayabhuti out of the [Mehika] kula.

Page #208

The Early Epigraphic Records of Mathurā
207
No. III A. १. सिद्धम् । सं १० ९ व ४ दि १० अस्यां पु
२. वा॑यं वाचकस्य अर्यबल - ३. दिनस्य शिषो [वाच]को अर्यमा४. तृदिनः तस्य [
निर्व्वतन]ा B. 1. [कोट्टियातो गणातो ठानियातो]
2. [कुलातो श्रीगृहातो संभोगातो]
3. [अर्य्यवेरिशाखातो सुचिC. [ल]स्य धर्म्यपत्निये ले - - - D. दानं भगवतो स[न्ति] - - [प्रतिमा A. 5. नाश - - - - - - तनं B. 4. - T [न]मो अरत्ततानं सर्व्वलोकुत्त[मानं] Translation
Success! In the year 19, in the fourth (month of) the rainy season, on the tenth day,- on that (date specified as) above,- the pupil of the preacher, the venerable Baladina (Baladatta) (is) the preacher, the venerable Matridina (Matridatta); at his request (was dedicated) an image of divine Santi..., the gift of le...., first wife of Suchila (Suchila), out of the Kottiya gaña, the Thāniya kula, the Śrigțiha sambhoga, the Aryya - Veri (Arya-Vajri) sakha....... Adoration to the Arhats, the highest ones in the whole world!
No. IV A. 1. [सिद्धं सं २० गृ ३] दि [१०] ७ [एत] स्य पूर्वाय कोट्टिय[I]तो गणातो
ब्रह्मदासियातो कुलातो उच्चे नागरितो शा]खातो [श्री]गृह[I]तो संभोगातो [बृहंतव]
चक च गणिन च ज[-मित्र] स्य - - 2. अर्य्य [ओ]घस्य शिष्यगणिस्य [अर्यपालस्य श्र[हच]रो [वाच]कस्य अर्य[दत्त]स्य
शिष्यो वाचको अर्य्यसीहा [त]स्य निव्वतणा [खो)ट्टमित्त]स्य मानिकरस्य [गो]
जयभ[ट्टि] धीतु दा – स्य B. 1. [लो]हवाणियस्य वाधर - - वधू [ह]ग्गु[देव]स्य धर्मपत्निये मित्राये [दानं] - - -
[सर्वस[त्वान] हि[तस]खाये काक[तेय] - - - - - - क्ष - - वाज ---- - - - - - - - - - - - - - - रज - - - - - - - - ।

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Translation
Success! In the year 20 (?), in the third (?) month of summer, on the seventeenth (?) day, on that (date specified as) above, the preacher, the venerable Siha (Simha) (was) the pupil of the preacher, the venerable Datta, (who was) the Sraddhachara of the ganin, the venerable Pala, (who was) the pupil of the venerable Ogha (?), (who was) the pupil of the great preacher and ganin Ja.. mitra (?) out of the Kottiya gana, the
Brahmadasiya kula, the Uchchenagari sakha (and) the Srigriha sambhoga, at his request (was dedicated) for the welfare and happiness of all beings...., the gift of Mittrā, the first wife of Haggudeva (Phalgudeva), the daughter-in-law of the iron-monger Vādhara..., the daughter of... Jayabhatti, the manikara, of Khottamitta......
No. V
A. 1. सवत्सरे पचविशे हेमंतम[से] त्रितिये दिवसे वीशे अस्मि क्षुणे B. 1. कोट्टियतो गणतो ब्रह्म]दासिकतो कुलतो उचेनागरितो शाखातो अयबलत्रतस्य शिषो
सधि2. स्य शिषिनि ग्रहां - - - f - वतन [ना]दिआरि]त जभ[क]स्य वधु जय[भ]ट्टस्य
___ कुटुंबिनीय रयगिनिये [व]सुय [।।] Translation
In the twenty-fifth year, in the third month of winter, on the twentieth day, at this moment (?), a vusuya (?), (was dedicated) by Rayagini, the daughter-in-law of Jabhaka, from Nāndigiri (?), (and) wife of Jayabhatta, the request (having been made) by graha.i...., the female pupil of Sadhi, pupil of the venerable Balatrata (Balatrāta) out of the Kottiya gana, the Brahmadasika kula (and) the Ucheāagari sākhā.
No. VI A. महाराज- - - ष्कस सं २० ९ हे दि ३० अस्म क्षुणे भगवतो वर्धमानस प्रति[मा]
प्रतिष्ठापिता ग्रहह[थ]स्य धितर सुखिताये बोधिनादि[ये] B. कुटुंबिनिये वारणे गणे पुश्यमित्रीये कुले गणिस अर्य[दतस्य शिष्यस्य] गह[प्र]कि[व]स
निर्वर्त[ना] अर[हं]तपुजाये। Translation
In the year 29 of the great king.. shka, in the second month of winter, on the thirtieth day, - at this moment (?), an image of the divine Vardhamāna was set up by order of Bodhinadi (Bodhinandi?), a married lady, the cherished daughter of Grahahathi (Grahahastin) at the request of

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No. VII
A.
1. [ सिध्धं] । सं ३० [५] व ३ दि १० अस्यां] पूर्व्वायां कोट्टियातो गणतो [ स्थानि] या [तो कु - 1
C.
The Early Epigraphic Records of Mathura
Gahaprakiva (?), pupil of the vanerable Data, a ganin in the Varana gana and the Puśyamitriya (Pushyamitriya) kula, in honour of the Arhat.
B.
1. वइरातो श[]]ख[]] तो शिरिकातो सं[भो] कातो अर्य्यबलदिनस्य शिशिनि कुमरमि [] 2. तस्य पुत्रो कुम[]]रभटि गंधिको तस - न प्रतिमा वर्धमानस्य सशितमखित [ बो] धित
1. अ[]
2. कुमार
3. मित्रा
4. ये
1. र्व्व
D.
209
2. [त]न [ ।।] Translation
B.
f
Success! In the year 35 in the third (month of the ) rainy season, on the tenth day, on that (date specified as) above; the female pupil of the venerable Baladina (Baladatta) out of the koṭṭiya gana, the Sthāniya kula, the Vairā śākhā (and) the Sirika sambhoka (sambhoga), (was) Kumaramitra (kumāramitrā); her son (was) the dealer in perfumes, Kumārbhati; his gift (is) an image of Vardhamāna (dedicated at ) the request of the whetted, polished and awakened venerable Kumarmitrā.
No. VIII
A.
सिहम् म[हा] रा [ज]स्य र [जा] तिराजस्य देवपुत्रस्य हुवष्कस्य सं ४० [ ६० ?] हेमन्तमासे ४ दि १० एतस्यां पूर्व्वायां कोट्टिये गणे स्थानिकीये कुले अय्य [वेरि]याण शाखाया वाचकस्यार्य्यवृध्द हस्ति [स्य ]
- [स्य ] - - [व] तकस्य
शिष्यस्य गणिस्य आर्य्यख [र्ण] स्य पुय्यम [न][क]- सकस्य कुटुम्बिनीये दत्ताये नधर्म्मो महाभोगताय प्रीयता भगवानृषमश्रीः ।
Translation
Success! In the year 40 (60?) of the great king (and) supreme king of kings, Devaputra Huvashka, in the fourth month of winter, on the tenth day,–on that (date specified as) above, (this) meritorious gift (was made) for the sake of great happiness by Datta, the wife of Kapasaka, an inhabitant of... vata, (at the request) of....... ganin, the venerable

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Kharņņa, pupil of the preacher, the venerable Vșiddhahasti out of the Kottiya gana, the Sthanikiya kula (and) the sakha of the Aryya-Veriyas (the followers of Arya-Vajra). May the divine (and) glorious Rishabha be pleased!
No. IX A. सू - नम शर[स]तममहरजस्य हुविक्षस्य सव[त्स]रे ४० ४ हनगृ[स्थ]मस ३ दिविस २
एति ] B. [स्यां] पुर्वयां ] - - - गणे अर्यचेटिये कुले हरीतमालकढिय [शाख- - - - - - चक
हगिनंदिअ शिसो ग - -नागसेणस्य नि- - Translation
Hail! Adoration! In the year 44 of the most illustrious(?) great king Huviksha, in the third month of summer, on the second day. On that (date specified as) above, at the request of the (venerable) Nagasena, the pupil of Haginamdi (Bhaganandi?),a preacher (vachaka) in the (Varana) gana, in the Aryya- Chetiya (Arya-Chetika) kula, in the Haritamalakadhi (Haritamalagadhi) śākhā.....
No. X L. 1. सिध्दम् सं ४० ५ व[३] दि १० [७] एतस्य पुर्व[]य - - - - - - - - - - ये
बुध्दिस्य वधुये धर्मावृध्दिस्यTranslation
Success! In the year 45, in the third (?) (month of) the rainy season, on the seventeenth (?) day, on the (date specified as) above............. by the daughter-in-law of Buddhi, the... of Dharmavriddhi... .......
No. XI A. 1. - - - ४० - हे - दि १० B. 1. ए[त]स्य पूर्वा]य वरणतो ग[ण]C. 1. तो आर्यहटिकियतो कुलतो D. 1. वजनगरितो] श[I]ख[I][] शि[रि]यत[1] A. 2. - -[ग]तो [द]तिस्य शिशिनिये B. 2. महन[न्दि]स्य सढचरिये C. 2. बल[व]ये [नन्द]ये च शिशिनिये D. 2. [कक]ये [निर्व्वर्तना]- - -

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211
A. 3. -[स्य] धीतु ग्रमि[क] जयदेवस्य वधूये B. 3. –मिको जयनागस्य धर्मपत्निये सिहदता[ये] C. 3. -[लथंभ]ो दनं = - Translation
[Success! In the year] 40, in the... month of winter, on the tenth (?) day, - on that (date specified = as) above, - a stone -pillar (was dedicated, being) the gift of Sihadatā (Simhadattā), the first wife of the village headman jayanāga, the daughter-in-law of the village headman Jayadeva (and) daughter of....... at the request of Akaka (?), the female pupil of Nanda (?), and of Balavarma (?), the sad hachari of Mahanandi (Mahānandin) (and) female pupil of Dati (Dantin) out of the Varana gana, the Aryya-Hatikiya (Arya-Hatikiya) kula, the Vajanagari (Vajranagari) Sakha (and) the Siriya sambhoga.
No. XII L. 1. सं ८० ६ हे १ दि १० २ दसस्य धितु पृयस्य कुटुंबिनिये - - - -
2. - - [क]तो कुलतो अयसं[ग्घ]मि[क]य शिशिनिय अयवसुल[ये] नि[व]तने [11] Translation
In the year 86, in the first (month of) winter, on the 12th day (was dedicated the gift) of......, daughter of Dasa (Dasa), wife of Priya (Priya), at the request of the venerable Vasulā, pupil of the venerable Sangamikā, out of the [Mehi]ka kula.
No. XIII [सं ८० ७?] गृ १ दि [२०?] अ [स्मि] क्षुणे उच्चेनागरस्यार्यकुमारनन्दिशिष्यस्य मित्रस्य............ Translation
In the year 87 (?), in the first month of summer, on the twentieth (?) day, at this moment (?), of Mittra, pupil of the venerable Kumārnandi, of him of Uchchenagara.........
No. XIV A. 1. सिध्दम् ।। कोट्टियातो गणातो ब्रम्हदासिकात[1] कुलातो
2. उ[च्चेनागरितो शाखातो – रिनातो सं[भ]ो[गातो] आर्य] - B. 1. जेष्ठहस्ति[स्य] शिष्यो] अर्यमहलो अर्य्यजेष्ठ [हस्तिस] [शिशो] अर्य[गा] ढक[ो]
[त]स्य शिशिनि [अर्य्य] 2. शामये निर्वतना। उ[स] – प्रतिमा वर्मये धीतु[गुल्हा]ये जयदासस्य कुटुंबिनिये दानं

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Translation
Success! The pupil of the venerable Jeshṭahasti (Jyeshthahahastin) out of the Kottiya gaṇa, the Brahmadasika kula, the Uchchenagari śākhā and the arina sambhoga (was) the venerable Mahala; the pupil of the venerable Jeshtahasti (Jyeshthahastin) (was) the venerable Gāḍhaka; at the request of his female pupil, the venerable Śama, (was dedicated) an image of Usabha (Rishabha), the gift of Gulha, the daughter of Varma (and) the wife of Jayadāsa.
No. XV
शे एत[स्यां] पूर्व्वायां कोट्टियातो गणातो.......
Translation
-
No. XVI
L. 1
2
Translation
No. XVII
L.
The Jaina Stupa at Mathura: Art & Icons
On that (date specified as) above, out of the Kottiya gana..........
........[an image ] of the worshipful Arhat Vadhamāna, [the gift] of.......... the daughter of kala, the sister (?) of Sinavishu (Vishnusheṇa ?); the request of.................. śati (?).
-
1. मा अहंतानं श्रमणश्राविका [ये ]
लहस्तिनीये तोरणं प्रति [ष्ठापि ]
. अरहंतानं वधमानस्य [क] लस्य धितु सिनविषुस्य [स्त्रि][[]य . [ श] ति]स्य [नव]र्तनं [11]
Translation
2.
3. सह माता पितिहि सह
4. सश्रू – शशुरेण
No. XVIII
L.
Adoration to the Arhats! A Torana has been erected by order of.. lahastini (Balahastini), a lay-pupil of the ascetics, together with her parents, together with her mother-in-law (and) her father-in-law.
1. सिध्दं [सं]
2. भगवती नागेन्द्रस्य दधिकर्णस्य स्त[T]
[द] ५ एतस्यं पूर्व्वायं]

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3. ने शिलापट्टो प्रतिष्ठापितो माथुराणं] 4. शैलालकानं चान्दका भ्रतृका इति वि[ष्ट्र-] 5. यमानानं तेषं पुत्रेही नन्दिबलप्र6. मुखेहि दारकेहि मातापितृणं अग्र7. प्रत्वशताये भवतु सर्वसत्वा[नं हित-]
8. सुखा[थै] भवतु [1] Translation
Success! In the year................, on the fifth day, on that (date specified as) above, a stone slab was set up in the place sacred to the divine lord of snakes Dadhikarņa by the boys, chief among whom was Nandibala, the sons of the actors of Mathurā, who are being praised as the Chāndaka brothers. May (the merit of this gift) be by preference for their parents; may it be for the welfare and happiness of all beings!
No. XIX L. 1. [सिध्दम् ।।] महाराजस्य राजातिरास्य देवपुत्रस्य वाहिकणिष्कस्य सं ७ हे १ दि १०
५ एतस्व पूर्वायां अर्योदिहिकियातो । 2. गणातो अर्य्यनागभुतिकियातो कुलातो गणिस्य अर्य्यबुध्दशिरिस्य शिव्वो वाचको
अर्य्यस[न्धि]कस्य भगिनी अर्यजया अर्यगोष्ठ - - - Translation
Success! In the year 7 of the great king, supreme king of kings, the son of the gods, Shahi Kanishka, in the first (month of) winter, on the fifteenth day, - on the (lunnar day specified) above, preacher Aryya(sandh)ika, the pupil of the ganin Aryya-Buddhasiri (AryaBuddhasri) of the Aryyodehikiya (Arya-Uddehikiya) school (and) of the Aryya-Nagabhutikiya (Arya-Nagabhulikiya) line of teachers, his sister Arya-Jaya (Arya-Jaya), Aryya-Goshtha....
No. XX [सि]ध्दं सं २० (?) [२] ग्रि २ दि ७ वर्धमानस्य प्रतिमा वारणातो गणातो पेतिवामि[क]Translation
Success! In the year 22 (?), in the second (month of) summer, on the seventh day, - a statue of Vardhamana, from the Varana gana; from the Petivamik [a kula ].......

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No. XXI L. 1. – धम् सव ५० ४ हेमंतमासे चतुर्थे ४ दिवसे १० अ
2. स्य पुर्खायां कोट्टियातो [ग]णातो स्थानि[य]ातो कुलातो 3. वैरातो शाखातो श्रीगृह[I]तो संभोगातो वाचकस्या-- 4. [हस्तहस्तिस्य शिष्यो गणिस्य अर्यमाघहस्तिस्य श्रहचरी वाचकस्य अ5. Hदेवस्य निर्वर्त्तने गोवस्य सीहपुत्रस्य लोहिककारुकस्य दानं 6. सर्वसत्वानां हितसुखा एक सरस्वती प्रतीष्ठाविता अवतले रड्गाान[तन] ो
7. मे [1] Translation
Success! In the year 54 (?), in the fourth, 4, month of winter, on the tenth day,- on the (lunar day specified) as above, one (statue of) Sarasvati, the gift of the smith Gova, son of Siha, (made) at the instance of the preacher (vachaka) Aryya-Deva, the Sraddhacharo of the ganin Aryya Maghahasti, the pupil of preacher Aryya Hastahasti, from the Koțțiya gana Sthaniya kula Vaira śākhā and the Srigriha sambhoga,-has been set up for the wel- fare of all beings. In the avatala my stage dancer (?). (It was established in the Rangamandapa).
No. XXII L. 1. [f]सध्दं सं ९० ५ (?) ग्रि २ दि १० ८ कोट्टि[य]ातो गणातो ठानियातो कुलातो
वइर[ातोशा]खातो अर्य्य अरह - - - 2. शिशिनि धाम[था]ये निर्वर्तन[I] ग्रहदतस्य धि[तु]धनहथि - - - Translation
Success! In the year 95 (?), in the second (month of) summer, on the 18th day,- at the request of Dhāmathā (?), the female pupil of AryyaAraha [dinna] from the Kottiya gana, from the Thaniya kula, from the Vaira Sakha.... [the gift] of... the daughter of Grahadata, the wife of Dhanahathi (Dhanahastin)...
No. XXIII वारणातो गणातो अर्यकनियसिकातो कुलातो ओद - - - Translation
From the Varaņa gaña, from the worshipful Kaniyasika kula, [from the] Od... (sakha)...

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No. XXIV L. 1. [सिध] महरजस्य वासुदेवस्य सं ८० हण व १ दि १२ एतस पायां - - -
2. धितु संघनधि[स्य]वधुये बलस्य - - - - Translation
[Hail!] In the year 80 of Maharaja Vasudeva,...... in the first month of the rainy season, on the twelfth day, on that (date specified as) above, the daughter of....... the daughter-in-law of Samghanadhi (?), the..... of Bala........
No. XXV - - - - र्षमासे १ दीवसे ३० अस्मि क्षु - - - - Translation
......... In the first month of the rainy season, on the thirtieth day, at that time or, on that festival. .........
No. XXVI दासस्य पुत्रो चीरि तस्य दत्तिः( ।।) Translation
Chiri, the son of Dasa; his gift.
No. XXVII L. 1. [प्रतिमा] वधमान[स्य] प्रतिथापिता
2. [ - - - ठानियातो - ल - - - - - - त आर्यग]-- Translation
An image of Vadhamana (Vardhamana) has been set up........ out of the Thaniya (Sthaniya)... ......
No. XXVIII A. L. 1. सिद्ध स [२०] गृमा - दि १० ५ कोट्टियातो गणतो [ठ]णियातो कुलतो वेरितो
शखतो शिरिकातो B. L. 1. - - गातो वाचकस्य अर्यसङगसिहस्य निर्वर्तना दातिलस्य - - - - - - -
मति2. लस्य कुटुंबिणिये जयवालस्य देवदासस्य नागदिनस्य च नागदिनय च मातु

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C. L. 1. श्राविकाये दि
2. [ना]ये दानं।। 3. वर्धमानप्र
4. तिम। Translation
Success! The year 20, Summer month 1, day 15,- at the request of the preacher (vāchaka) Aryya-Sanghasiha (Arya-sanghasimha) out of the Kottiya school (gana), the Thaniya family (kula), the Veri (vajri) branch (śākhā) and the Sirika sambhoga, an image of Vardhamāna, the gift of the female lay-hearer (sravika) Dina (Dinna), the... of Datila.... the housewife of Matila, the mother of Jayavala (Jayapala), Devdasa, and Nāgdina (Nāgadatta) and Nagdina (Nagadatta).
No. XXIX L. 1. सिध्द सव २० २ नि १ दि - - स्य पुर्वायं वाचकस्य अर्यमात्रिदिनस्य णि - - -
2. सतवाहिनिये धर्मासोमाये दानं ।। नमो अरहंतान
Translation
Success! The year 22, summer (month) 1, day.. - on the (date specified as) above, at the request of the preacher Aryya- Matridina (AryaMatridatta), the gift of Dharmmasoma, the wife of a caravan --leader. Adoration to the Arhats!
No. XXX L. 1. स ४० ७ गृ २ दि २० एतस्य पुर्वयं वरणे गणे पेतिवमिके कुले वाचकस्य
ओहनदिस्य शिसस्य सेनस्य निवतना सवकस्य - 2. पुषस्य वधुये गिह - - [कुटिबिनि ]- - - [पुष] दिन[स्व] [मातु ] - - - ये Translation
The year 47, summer (month) 2, day 20, on that (date specified as) above, at the request of Sena, a teacher in the Varana (varana) school and the Petivamika (Praitevarmika) family and pupil of Ohanadi (ohanandin) [the gift] of......... the daughter-in-law of the lay-hearer pusha (pushya), the house- wife of Giha...the mother of pushadina (pushyadatta)

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No. XXXI A. 1. - - - - - - ५ अस्यि क्षुणे - - - - - - - - - - - - - -
2. तो आर्यसुकरस्य शिषिनि - - - - - - - - - - - अय - - - B. 1. - - - - - - - - - - - - - - - - - [अर्य्य] नागदत्ता [वा] No. XXXIII L. 1. [न] मो अरहतो वर्धमानस्य गोतिपुत्रस पोठयशक
2. कालवाळस 3. - - - कोशिकिये शिमित्राये अयागपटी - - - -
Translation
Adoration to the Arhat Vardhamāna! A tablet of homage was set by Sivamitra (of) the Kaushika (family), [wife) of Gotiputra (Gauptiputra), a black serpent for the Pothayas and Shakas.
No. XXXIV L. 1. [सि]द्दध नमो अरहंताण - - - दन वारणे गणे अयहाट्टिाये]
2. कुले वजनागरिया शाखाया अर्यशिरिकिये संभो - - - Translation
Success! Adoration to the Arhats! [ Adoration to the siddhas]![ At the request of..... ] in the Varana school, Arya- Hattiya (Arya-Haliya) family, the Vajanagari (Varjanagari) branch, the Arya-sirikiya sambhoga..........
No. XXXV L. 1. [ते ] – रूसनंदिकस पुत्रेन नंदिघोषेन [ते]वणिकेन अ - - त -अ ले - -
2. णानं मंदिरे [आ]यागपटा प्रतिथापित [T] - - - - - - Translation
By Namdighosha, the Tevanika (Traivarnika), son of Te..rusa (?) - Namdika, tablets of homage were set up in the bhamdira of the..................
EPIGRAPHIA INDICA - Vol. II समनस माहरखितास आंतेवासिस वक्कीपुत्रस सावकास उतरदासक()स पासादोतोरनं() Translation
“An ornamental arch for the temple (the gift) of the lay-hearer Utaradasaka (Uttaradasaka), son of Vachhi (Vatsi mother and) disciple of the ascetic Māharakhita (Māgharakshita).

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No. II. L. १. नम अरहतो वर्धमानस।
२. स्व()मिस महक्षत्रपस शोडासस सवत्सरे ४०(?)२ हेमंतमासे २ दिवसे ९ हरितिपुत्रस
पालस भयाये समसाविकाये ३. कोछिये अमोहिनिये सहा पुत्रेहि पालघोषेन पोठघोषेन धनघोन आयवती
प्रतिथापिता ४. आर्यवती अरहतपुजाये () Translation
"Adoration to the Arhat Vardhamāna! In the year 42 (?) of the lord, the
Mahakshatrapa Sodasa, in the second month of winter, on the 9th day, an Ayavati (Aryavati), was set up by Amohini (Amohini), the Kochhi (Kautsi), a female laydisciple of the ascetics (and) wife of pāla, son of a Hariti (Hariti or Hāriti mother), together with her sons Pālaghosha (Proshthaghosha and) Dhanaghosha... the Aryavati (is) for the worship of the Arhat."
No. III. L. 1. सिद्धम् ! नमोस्त्वर्हदाः
2. महाराजमहाक्षत्रपम-- Translation
Success! Adoration be to the Arhats !.... Mahārāja, Mahākshatrapa ma...
No. IV L. 1. भदतजयसेनस्य आंतेवासिनीये
2. धामघोषाये दानो पासादो (।।) Translation
“A temple, the gift of Dhāmaghoshā (Dharmaghoshā), the female disciple of the venerable Jayasena."
No. V L. 1a. नमो अरहतानं फगुयशस __2a. नतकस भयाये शिवयशा
3a. - - f - - । - - - । - काये 1b. आयागपटो कारितो 2b. अरहतपुजाये (।।)

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Translation
“Adoration to the Arhats! By Śivayaśā (Śivayaśas), wife of the dancer Phaguyasa (Phalguyasas), ...... a tablet of homage (āyāgapața) was caused to be made for the worship of the Arhats.”
No. VI
al T - - Translation
"The divine Nemesa (Naigamesha), divine....."
No. VII L. 1. 4 - 8
2. - [athralleg a 3. -Raif Hen: 4. - - [a ] [-] för The fragment admits of no continuous Translation. It would seem that we have in line 2 the beginning of a verse in the sardulavikridita metre, and in line 3 the middle position of another. The whole was no doubt a metrical Prasasti written entirely in sanskrit.
No. VIII 7 BRETT HERH | H12 - - Maish [9] - 2177 - - a - - Tart (311411421] Translation
“Adoration to the Arhat Mahāvira (Mahāvira). A tablet of homage (āyāgapața the gift) of... ita, wife of.. lavāda (?), an inhabitant of Mathurā."
No. IX L. 1. HT BRENY (9]
2. ye GT[77] - - Translation
An image of...... for the worship of the Arhats.... of Idrapāla (Indrapāla), the son of the Goti (Gaupti mother).

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No. X
L. 1. ये जीवनादाये
Translation
-
“Of Jivanādā (Jivanandā).”
No. XI
L.
A. सिध्धं स ४ ग्रि १ दि २० वारणातो गणातो अर्यहाट्टकियातो कुलतो वजणगरित शा] - B. पुश्यमित्रस्य शिशिनि सथिसिहाये शिशिनि सिहमित्रस्य सढचरि C. दाति सहा ग्रहचेटेन ग्रहदासेन
Translation
No. XII
The Jaina Stupa at Mathura: Art & Icons
“Sucess! In the year 4, the first (month of ) summer, the day 20, - ...of.... the female convert (sadhachari) of Sihamitra ( Simhamitra), the female pupil of Sathisiha ( Shashtisimha ), the female pupil of Puśyamitra...out of the Vārana gana, out of the Arya-Hattakiya (Arya - Hattakiya) kula, out of the Vajanagari (varjanagari) śākhā.... the gift...., together with Grahacheta (and) Grahadasa.”
स्य व ५ गृ ४ दि ५ कोट्टिया
वाचकस्य अर्य्य
No. XIII
A.
B.
D
Translation
"In the year 5 of....., in the fourth (month of) summer, on the fifth day,-..... of the preacher (vāchaka) Aryya..... (ārya....) out of the Kottiya (gana)......., out of the.... śākhā....”
स १०८ गृ ४ दि ३ [ अस्या पु] - [य] संभोगातो वच्छलियातो कुलातो गणि
वासि जयस्य [सर्वस]वा[न] सुखाय भवतु
1.
2. Translation
-
-
[या] तो गण[तो]
[] शाखा []
तु मासिगिये ( ? ) दानं सर्व्वत [] [द्र]
“The year 18, the fourth (month of ) summer, the third day, - on that (date specify as) above a fourfold [ image], the gift of Māsigi ( ? ), ( mother of) Jaya..... [ at the request ] of.... a gani out of the [kotti] ya gana..., out of the... sanbhoga, out of Vachchhaliya (vatsaliya) kula. May it be for the welfare of all beings!"

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__
221
221
No. XIV L. A. - - - - ष १० [८] व २ दि १० १ __B. धितु मि [तशि]रिये भगवतो अरिष्टणेमिस्य [वेवर्त] ? - - Translation
“The year 18, the second (month of) the rainy season, the day 11............. [the gift] of Mita-siri (?Mitrasri), the daughter of...................a............ of divine Arishtanemi (Arishtanemi)..........
No. XV A. स ३० १ व १ दि १० अस्म क्षुणे B. 1. - - यातो गणतो [आर्यवेरितो शाखतो [ठा]णियातो कुलातो वह[तो] । कुटुंबिणिये[ग्र]
2. - - - - [अर्य] - दासस्य निवर्तना बुधिस्य धितु देवि लस्य। शिरिये दाणं । Translation
“The year 31, the first (month of the) rainy season, the tenth day, - at this moment a gift (was made) by Grahasiri (Grahasiri), daughter of Buddhi (and) wife of Devila at the request of the great (?) [Ganin] Aryya [Go]dasa, out of the [Kotti]ya (gana), the Aryya-Veri (Arya-Vajri) śākhā, the Thaniya (Sthaniya) kula."
No. XVI A. 1. सिधम् । सव[त्स]रे ३०। २ हेमन्तमासे ४ दिवसे २ वारणातो गणा - - - यातो[कु]
(-)?
2. ----- - - - - - - B. 1. – णि अर्यनन्दिकस्य निर्वर्तना जितामित्रय [रितु]नन्दिस्य धीतु बुदिस्य कुटुम्बिनिये
प्रा - 2. रिकस्य - नो – f - प्य मातु गन्धिकस्य अरहन्तप्रतिमा सर्वतोभद्रिका । Translation
"Success! In the year 32, in the fourth month of winter, on the second day, a fourfold image of the Arhat (was dedicated) by Jitāmitrā, daughter of Ritunandi (Ritunandi), wife of Buddhi (and) mother of the perfumer......, at the request of gani Aya-Nandika (Arya-Nandika)......... out of the Varana gana, the... ya kula...."

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No. XVII L. 1. पण ५० हेमंतमासे प - - -
2. आर्यचेरस्य - - - - 3. ये युधदिनस्य 4. धित 5. पूषबुधिस्य - - - No continuous Translation of the fragment is possible. The date is "the year 50 and the first or fifth (?) month of winter."
No. XVIII L. 1. सिध संवत्सर द्वापना ५० २ हेमन्त[मा]स प्रथ-दिवस पंचवीश २० ५ अस्म क्षुणे
कौट्टियातो गणात[1] 2. वेरातो शखतो स्थानिकियातो कुलात[ो] श्रीगृहतो संभोगातो वाचकस्यायंघस्तुहस्तिस्य 3. शिष्यो गणिस्यामंगुहस्तिस्य षढचरो वाचको अर्यदिवितस्य निर्वर्तना शूरस्य
श्रम४. णकपुत्रस्य गोट्टिकस्य लोहिकाकारकस्य दानं सर्व्वसत्वाननं हितसुखायास्तु । Translation
"Success! the year fifty-two, 52, the first month of winter, the twentyfifth day, 25 - at that moment (was dedicated) the gift of the worker in metal Gottika, the Sura, the son of Sramanaka, at the request of the preacher Aryya-Divita, (who is) the convert of the gani AryyaManguhasti (and) the pupil of the preacher Aryya-Ghastuhasti out of the Koțțiya gaņa the vera (vajra) śākhā, the Sthānikiya kula (and) the Śrigriha sambhoga. May it be for the welfare and happiness of all creatures!
No. XIX L. 1. सिध्ध स ६० २ व २ दि ५ एतस्य पुवय वाचकस्य आयकर्कुहस्य[स]
2. वारणगणियस शिषो ग्रहबलो आतपिको तस निवर्तना Translation
"Success! the year 62, the second (month of the) rainy season, the day 5, on that (date, specified as) above, the pupil of the preacher Aya-Karkuhastha (Arya- Karkasagharshita) of theVarana gana, was the atapika Grahabala, at his request.........

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No. XX 1. सं ७० ९ व ४ दि २० एतस्यां पुर्वायं कोट्टिये गणे वइरायां शाखायां - - 2. को अयवृधहस्ति अरहतो णन्दि[आ]वर्तस प्रतिमं निर्वर्तयति । B. --- pefa face faraj Gri yfht ata ya safari y ---- Translation
"The year 79, the fourth (month of the) rainy season, the twentieth day - on that (date, specified as) above, Aya-Vșidhahasti (Ārya-Vriddhahastin), a preacher in the Kottiya gana (and) in the Vairā (Va-jrā) śākhā, gave the advice to make an image of the Arhat Ņandiāvarta (Nandyāvarta)........ the image, the gift of the female lay-disciple Dinā (Dattā), wife of..., was set up at the Vodva Stūpa, built by the gods."
No. XXI L. 1. A co gai fe & cael yar [31]fuluitar Bid -
2. aifecafe cap fadhil [O] Efe --- Translation
"The year 81, the first month of the) rainy season, the sixth day - on that (date as specified) above at the request of Data, the female pupil of Ayikā-Jivā (Āryikā-Jivā) - Grahasiri (Grahasri).......
No. XXII L. 1. Ha [80a] ------------ garty face get
2. t - - a [0]at 4 - a[E] - [] at forlat THC yat[at] - -
सनिकय भतिबलाये – भिनि Translation
This inscription is Sir A. Cunningham's No.19 (Archceological Survey Reports, vol. III, pl. XV). It seems to have suffered since the time when the first facsimile was prepared. The date, which I have given according to Sir A. Cunningham, has disappeared, and several letters at the end of line 2 have become indistinct. Its chief value consists in the mention of the Majhamā sākhā and the Pa-vaha-ka kula, which latter I have formerly identified with the Prasnavāhanaya kula or Panhavāhanaya of the Jaina tradition. Dr. Further's impression shows pretty clearly that the first letter is pa, which is not equally certain according to Sir A. Cunningham's facimile. It also makes is probable that the third letter of the name is not hu, but ha. The name of the gana was without a doubt Kottiya, as the first syllable ko is tolerably distinct.

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No. XXIII L. A. 7 37 Hellappa Å So 3 [a] -----
B 1. fgruppe T [fo] [7]fat [falachat dapet skulle fera -----
2. ---f -[9], an qefinufait ufa ------ 451 (h)(11) Translation
“Adoration to the Arhat Mahāvira (Mahavira)! The year 93, the..... (month of) the rainy season.. ...at the request of the gaại Nandi (Nandi) pupil of....an image of divine Varddhamāna was set up by....., the daughter of the gold smith Deva, for the worship [of the Arhat]”
No. XXIV स ९० ८ हे १ दि ५ अस्म क्षुणे क[1]ट्टियात[1] गणातो उचनग - - - Translation
The year 98, the first month of) winter, the fifth day, at that moment, - out of the Kottiya gaņa, the Uchanagari (Uchchānāgari) [śākhā).........
No. XXV L. A. ---[9] en grabahpel --- Translation
“In the year....... of... Devaputra Huvishka.........”
No. XXVI L. A. 1. vgai [ T ] B.1. 37[7]yja) C.1. - - -
2. a1 - - 2. – [E]ac 2. afat - - D. 1. FET H - I - Pada 1973PT[E]: ---
2. [an]A[9] TGART forut f[TT 5] -- -- Translation
It is only evident that D. 1-2 gives us the names of the Mahārāja Devaputra Huksha, (Hushka or Huvishka), and of a monk named Nagadata (Nagadatta). It may also be suggested that the inscription begins with D.1, beacause that line contains the group sdha, an abbreviation of siddham, and the name of the king. The continuation may possibly be looked for in A 1, where the word ekunatisha, the twenty-ninth, seems to be long to the date. The year 29 would fall in the regin of Huvishka.

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No. XXVII L. 1. सिधम् महाराजस्य राजातिराजस्य - - - - -
2. ओहनन्दिस्य शिष्येण से - न - - - - - - Translation
“Success! Of the great king, the supreme king of kings.... by Sena, the pupil of Ohanandi (Oghanandin)”.....
No. XXVIII L. A. - - भगवतो उसभस वारणे गणे नाडिके कुले - - - - - - खा [यं] - -
B. ढुकस वायकस सिसिनिए सादिताए नि - - - Translation
“[ Adoration ] to divine Usabha [Rishabha]! At the request of Sadita, female pupil of..... dhuka, a preacher in the Varana gana, Nadika kula and........ Sakha.........
No. XXIX L. A. स्थ[]निकिये कुले गनिस्य उग्गहिनिय शिषो वाचको घोषको आर्हतो पर्श्वस्य प्रतिमा
Translation
... “The preacher Ghoshaka, pupil of the Uggahini, a gani (ganin) in the Sthanikiya (kiya) kula; an image of the Arhat Parsva (Parsva)."...
· No. XXX L. 1. नमो अरहंतानं सिहकस वानिकस पुत्रेण कोशिकिपुत्रेण
2. सिहनादिकेन आयागपाटो प्रतिथापितो आरहंतपुजाये [11] Translation
“Adoration to the Arhats ! A tablet of homage (āyāgapāța) was set up by Sihanadika (Simhanadika ? nandika ?), son of the Vanika Sihaka (Simhaka) and son of a Kosiki (Kausiki mother), for the worship of the Arhats."
No. XXXI
नमो अरहंताना शिवघो [षक]स भरि[या]- - - - ना - - - - - ना - - Translation
“Adoration to the Arhats!..... the wife of Sivaghoshaka........."

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No. XXXII L. 1. नमो अरहंतानं [मल]- णस धितु भद्रयशस वधुये भद्रनदिस भयाये
2. [चला]ये आ[या]गपटी प्रतिथापितो अरहतपुजाये [1] Translation
"Adoration to the Arhats ! A tablet of homage (āyāgapata) was set up by Achala (?), daughter of Mala-na (?), daughter in-law of Bhadrayasa (Bhadrayaśas), and wife of Bhadranadi (Bhadranandin), for the worship of the Arhats."
No. XXXIII L. A. वर्धमानपटिमा वजरनद्यस्य धिता वाधिशिव - - - - -
B. 1. - - स्य - कुटीबिनि दिनाये दाति बडिम[शि]ये - - - -
2. - - - - - - ----- Translation
“An image of Vardhamāna, the gift of Dinā (Datta), daughter of Vajaranadya (Vajranandin), [daughter-in-law] of Vadhisiva (Vriddhisiva?) house-wife of..... i; Badimasi's (?)".......
No. XXXIV L. 1. उचेनगरितो शखतो अर्यबलचतस्य शिसिणि अर्यबह्म - - -
2. अर्यबलचतस्य शिष्यो अर्यसन्धिस्य परिग्रहे नवहस्तिस्य धिता ग्रहसेनस्य वधु - -
-
-
-
3. गिवसेनस्य देवसेनस्य शिवदेवस्य च भ्रात्रिनं मातु जायये प्रतिमा प्र - - - - -
4. [मा]नस्य सर्व्वसत्वानं हितसुखय।। Translation
“For the acceptance of Aryya -Sandhi (Arya-Sandhi), pupil of AryyaBalattrata (Arya-Balalrāta) [and of ?] Aryya-Bahma,... (Ārya-Brahma..), the female pupil of Aryya-Balattrata (Āryya-Balatrāta) out of the Uchenagari (Uchchanagari) śākhā, Jāyā, daughter of Navahasti (hastin), daughter-inlaw of Grahasena....., mother of the brothers Sivasena, Devasena and Sivadeva, has set up an image of [Vardha) mana for the welfare and happiness of all creatures."

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No. XXXV L. A. तिये निर्वर्तना
B. 1. तो शखता शिरिकतो संभोकतो अर्य्य
2. f - धराये निवतना शिवद [त] -
3. - - लनस्य मतु ह[स्त] - - - Remark-Translation is not given except the remark of the same wods "Nirvatarma and Nivatana".
No. XXXVI L. 1. - - ५० (?) हे २ दि १ अस्य पुर्व्वय वरणतो गणतो अय्यभ्यिस्तकुलतो [स]
2. खतो शिरिनिहतो सभोगतो बहवो वचक च गणिनो च समदि [अ] - 3. - वस्य दिनरस्य शिशिनि अय्यजिनदसिपणतिधरितय शिशिनिअ - - . 4. घकरवपणतिहरमसोपवसिनि बुबुस्य धित रज्यवसुस्य धर्म - - 5. [द] विलस्य मतु विष्णु[भ]वस्य पिदमहिक विजयशिरिये दन वध - -
6. - - - - - - - --- Translation
".... 50, (?) second month of winter, first day, on that (date, specified as) above, [an image of] Vadha [mana] (Vardhamāna), the gift of Vijayasiri (Vijayasiri), daughter of Babu, first wife of Rajyavasu (Rajyavasu), mother of Devila paternal grandmother of Vishņubhava, who fasted for a month (and) obeys the command of Ayya]..ghakaraba (?) (who is) the female pupil, obeying the command of Ayya-Jinadasi (Ayya-Jinadasi), (who was) the female pupil of Samadi..va Dinara, the great (?) preacher and gani out of the Varana (Varana), the Ayyabhyista (?) kula, the sa[mkasiya] sakha, and the Sirigriha (Srigriha) Sambhoga........"
No. XXXVII
A. 1. सिध को[ट्टियतो गणतो उचेन - ___2. गरितो शखतो बम्हादासिअतो
3. कुलतो शिरिनिहतो संभोकतो ___4. अय्यजेष्टहस्तिस्य शिष्यो अर्यमि]हि[लो] B. 1. त्तस्य शिष्य[1] अर्यक्षेर
2. [को] वाचको तस्य निर्वत - 3. न वर[ण]हस्ति[स्य]

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C. 1. [च] देविय च धित जय
2. देवस्य वधु मोषिनिये
3. वधु कुठस्य कसुथस्य _D. 1. धम्रप[ति]ह स्थिरए
2. दन शवदोभद्रिक
3. सर्वसत्वन हितसुखये Translation
"Success! The pupil of Ayya- Jeshtahasti (Jyeshthahastin) out of the Kottiya gana, the Uchenagari (Uchchanagari) Sakha, (and) the Bamhadasia (Brahmadāsika kula) (was) Aryya-Mihila (Ārya-Mihira); his pupil (was) the preacher (vachaka) Arya-Ksheraka (Arya-Kshairaka?); at his request a fourfold (image was dedicated as) the gift of Sthirā, daughter both of Varanahasti (hastin) and of Devi, daughter-in-law of Jayadeva (and) daughter-in-law of Moshini (and) first wife of Kutha Kasutha for the welfare and happiness of all creatures."
No. XXXVIII
संवत्सरे सप्तपंचाश ५० ७ हेमन्धत्रितो -
- से [दि]वसे त्रयोदशे अ - पूर्वायां - Translation
In the fifty-sevent, 57, year, in the third month of winter, on the thirteenth
day, on that (date specified as) above......... No. XXXIX L. 1. सिहम्। परमभट्टारकमाहाराजाधिराजश्रीकुमारगुप्तस्य विजयराज्यसं [१०० १०]३क
- - - - न्तमा - - [दि] - स २० अस्यां पूर्वाया]कोट्टियां गणा2. द्विद्याधरी [तो] शाखातो दतिलाचाय्यप्रज्ञपिताये शामाढ्याये भट्टिभवस्य धीतु ग्रहमित्रपालि[त]
प्रा[ता]रिकस्य कुटुम्बिनीये प्रतिमा प्रतिष्ठापिता। Translation
"Success! In the year 113, in the victorious region of the supreme lord and supreme king of great kings, the illustrious Kumaragupta, on the twentieth day [of the winter-month] Karttika] - on that (date, specified as) above an image was set up by Samadhya (Syāmādhyā),daughter of Bhattibhava (and) house-wife of the ferryman.

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EPIGRAPHIA INDICA - Vol. X
(New Brahmi Incription of the Scythian Period by Rakhal Das Banerji)
III - Inscribed Jaina Image, The Year 9. 1. Siddham Sam 9 he 3 di 10 Gra[ha]m[i]trasya dhitu Śivasirisya vadhu
Ekaraļalasya 2. 2 Koțțiyāto gaṇāto [A]rya Tar[i]ka[s]ya kuțumbiniye 3. 3 Thaniyāto kulāto Vairsā]to [śākhā]to [ni]vartanā Gahapalaye dati. Translation
“Success. In the year 9, the third (month) of winter, the tenth day; the gift of Gahapalā, the wife of Ekradala, the daughter-in-law of Sivširi and the daugher of Grahamitra, at the request of the venerable Tarika out of the Kottiya gana the Thaniya (Sthaniya) kula (and) the Vaira (Vajrā) Śākhā.” The inscription between the feet of the Jina consists of two short lines:1. Arya [A]gha
2. Masya sisini Translation
“The female disciple of the venerable [A]ghama.”
IV - Inscribed Jaina Image, The Year 12. 1. Sam 10 2 va 4 di 10 [1] etasya purvāyam Koțțiya [ga]ņato Ba[m]
bhadasi[ya]to kulato U[chena]garito śākhāto gaņi[s]ya Aryya Puši[lasya] śiśini Datila ...ti Harinan[di] sya bhaginiye nisvar] – tana sāvikanaṁ vaddha[ki]ninaṁ Jinadāsi Rudradeva Dattāgālā Rudrade[va] sāmi[nā] Rud[ra]. [gahami]tra... Kumāraširi Vamadasi Hastisse]na Grahasiri Rud[r]adatā Jayadāsi Mit[r]
aśiri... Translation
In the year 12 the 4th (month) of the rainy season, the 11th day, on that (date specified as) above - (an image was set up) by the (following) layhearers (who belonged to the caste) of carpenters (viz.) Jinadasi, Rudradevā,

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Rudradeva-sāmi of Dattāgālā, Rudra..... Gahamitra (Grahamitra)...... Kumāraśiri (Kumāraśri) Vamadāsi (Brahamadāsi or Vāmādāsi) Hastisenā, Grahasiri (Grahasiri) Rudradata (Rudradattā) Jayadāsi Mitrasiri..... at the request of........ the sister of datta... Harinandi the female pupil of the venerable Pushila out of the Kottiya gana Bambhadasiya (Brahamadāsiya) and the Uchenagari (Uchchanagari) Sākhā.
V - Inscribed Image Of Sambhavanatha In The Year 48 1. Mahārājasya Huvakshasya sa[m]vachar(e) 40 8 va 2 d [i] 10 7 etasya
puvāyām K[otti]ye [gane] Bama [dā] [si]ye k[u]le Pachanagariye śākāya Dhujhavalas[ya] śiśin[i]y[e] Dh[ujha] [s]iriy [e] nirvatans [Bu]dhukasya vadhuye Savatrana [?] potr[i]y[e] Yasay[e] dana Sa[m]
bhavasya protima pra4. tasti]stape(pi]ta. Translation
“In the year 48, the 2nd (month) of the rainy season, the 17th day, of the Mahārāja Huvaksha; on that (date specified as) above, an image of Sambhava was set up by Yaśa, the grand-daughter of Savarana (?) and the daughter-in-law of Budhuka, at request of Dhujhasiri (Dhurjasri), the female disciple of Dhujhavala (Dhurjavala) out of the Kottiya-gana, Bama (dā)siya (Brahmadisiya) kula and Pachanagari (Vajranagari) sākhā.
VII - Inscribed Jaina Image, The Year 58 1. Sdha [m] Nama Śara[sa]tama Maharajas[ya] Huvakshasya sa[m]vasare
ashtapana gra[sya] masa 3 [da]visa 2 e[ta] [syam] p[u]rvasyain] Pe [?]..... gane [?] Aryachetiye kule Haritamalākadhi [yāto] sā...... [vā] chakas[y]a Hag[i]n[ā]dis[y]a si[so]gana .......... Na [?]
gaseno [?] danam [?] Translation
Sucess! Adoration! In the Year 58 of the most illustrious (?) great king Huvaksha, in the 3rd month of summer, on the 2nd day. On that (date specified as) above, the gift of Nagasena (?), the pupil of Haginadi (Bhaganandi?) a preacher ont of the...... ...... gana, the Arya-Chetiya (Arya-Chetika) kula (and) the Haritamālakadha (Haritamalagadhi) sā[khā].

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VIII - Inscription On A Jaina Image From Mathura, The Year 71
This torso though obtained in the year 1891-92 but the inscription was published late with other new Brahmi Inscriptions of the Scythian period in 10th volume. Though inscription written on the back of Jina image also proves that the same pattern is still continued on many Jina images. This is also unique as here many letters/Aksaras are resemble to Kharosti script. The word 'sushoti' is the apabhramsa of 'Svasriya' as explained by R.L. Mukharji as per Bengali language. Here the word ‘Munasimita' seems to be 'Munisuvata' the 20th Tirthankara. 1 Sa(m) 70 1 va 1 di 10 5 2 e(?) tasya puvaye ha 3 ţiya(?) Munasimitā(?) ye (?) 4 Minirava sushoti dhitu
5 H(emad)eva (saya) Translation:
In the year 71, the 1st month of the rainy season, the 15th day; on that (date specified as above),...... of Munasimita(?)............the sister's daughter's daughter of Minirava...... of Hemadeva.
IX - Inscribed Chaturmukha From Ramnagar The Year 74 A. 1 (Saṁ 70) 4 gra 1 di 5 Aya Varanato ganasto)..... A. 2 [ku]lato Vajanakarito śākhā[to] Ayasirik[ato] B. 1. Nadhanasya vāchakasya śiśiniya A[ryya] B. 2. C. 1. Gahavalaye panatidhariye sisiniye Aryadāsiye C. 2.
1. [deva sya kutu[m]biniye Dharavālaye dati D 2. sasuye Translation
(In the year) [7]4, the 1st (month) of summer, the 5th day.......... the gift of Dharavalā, the wife of............... deva ............ [at the
....... Aryadāsi (Arya-dāsi), the femail pupil, who obeys the command Gahavalā..... of......... sa................... the venerable............ female pupil of the preacher..........nadhana....... out of the venerable

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Varaṇa[Varana] gaña, the .......... kula, the Vajankari (Vajranagari) sākhā (and) the Ayasirika (Āryasrika) [sambhaga]
X - Inscribed Image From Mathura, The Year 80 1. Sdhi Maharajasya V[a]sudevasya Sa[m] 80 hamava 1 di 10 2 etasa
purvvayām sa[va]ko [sa]... 2. dhita Sa[m] ghanādhisa (?) vadhuye Balasya......... Translation
“Success, In the year 80, the first (month) of winter the 12th day of the Mahārāja Vāsudeva - on that (date specified as) above the daughter of the lay hearer Sa.....the daughter-in-law Samghnādhis ......of Bala..
XI - Inscribed Base Relief, The Yrar 99: 1 S(i)ddha(m) Sam 90 9 gri 2 di 10 6 Kottiyato gaṇato Thaniyato kulato
Vai(ra)
to śākhāto Arya Sura (po)...... 2 (si)śini Dhama(śi)r(i)ye niv(a)rtanā... Grahadatasya dhi(ta) Dhanahathi......
A. Anagha (Sre)shthi Vija. B. Kaņa Śrama(ņa). Translation “Success. In the year 99, the 2nd (month) of summer, the 16th day,- at the request of Dhamasiri (Dharmasri), the female pupil of ...............Aryya Sura (Arya-Sura) .........out of the Kottiya gaṇa, the Thaniya (Sthaniya) kula and the Vaira(Vajra) sākhā.” “Vija (Vidya)” “The ascetic Kana (Krishna)”.
XII - Inscription On A Coping Stone: Gotiputrasa Utarasa sovaņ(ika)........... Translation ..........of Utara (Uttara), the goldsmith, the son of Goti(Gaupti)
XIV - The Inscription On Waist band of a female obtained from K.T.: 1 Puśabalāye dāne Dhama2 vadhakasya (bha)yāye. Translation “The gift of Puśabalā, the wife of Dhamavadhaka (Dharmavardhaka).”

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XV - Fragment Of An Inscribed Pavement Slab: Gosālasyā dhita Mitrāye (danam) Translation “(The gift) of Mitrā, the daughter of Gosāla”
XVI - Fragment Of An Image From Ramnagar: 1. .......ņaka gaņa (?) Dhananyanasya ta ....aya (ye) (ye A)dh(i)
chchhatrakaye........ 2. (nivar)tana. Translation "............ņaka gana (gaņa).... Of Dhananyana .....the venerable...... of..... at the request of ...... (Adhi)chchhatra...."
XVII - Fragement Of A Tablet: 1. ..........(Amogha)dattasya bharyāye ko(ts)ye 2. ...........(Pratistha)pita....Arhanta pu(jāye). Translation “(A tablet of homage) was set up by...... the wife of (Amogha)data,.. .... In honour of (all) the Arhats."
XVIII - Inscription On A Tablet Of Homage 1. ....... Dhanamistra]ye dhitu [Ara] 2. ........vadhuye ayaga[pa]to (pa] Translation ...... the daughter of Dhanamitra....the daughter-in-law of.... A tablet of homage [was dedicated)....
XIX - Fragement Of A Pedestal Here two words of same meaning is used -natti and pau(ttra) 1. ..........sya(v)rita Ku(tu)kasya ku(tu)(mbini) 2. ....na putrehi dhitihi natti pau(ttrehi) Translation “.... The wife of Ku(tu)ka, the chosen........ .sons and daughters and grandsons.”

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XX - Inscription On A Trianguler Fragment: 1. ............tata...... 2. ..........m = ashtasata CVIII gandhi... 3. .........push[ta]...... Translation “This inscription contains eight hundred number in two ways- numerical symbol and in words, i.e. ...m-ashtasata CVIII gandhi...”
6.22 Mathura Inscriptions in Brahmi - see fig. nos. 140-158:
3
Sort
BI5998
B230

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7
Spread of Jainism
There is a common faith among Jaina laymen, that one who creates Tirthankara images and sets up temples, gets more benefits/Punya in life. This is one of the reasons behind the establishment of numerous new images and temples in spite of several already existing. Most of the images, pillars, Āyāgapatas, toranas etc. obtained from Kankali Tilā and surrounding areas comprise of inscriptions of donors in Brahmi and old Devanagari script. They are equipped with the data of establishing year, place, donor as well as the name of Guru who induced the lay persons along with his genealogy showing Jaina Sangha's methodical workmanship to preserve the account.
7.1 The Spread of Jainism:
Jainas, the apostles of culture and knowledge have played in vital role in the civilisation of India. Jainism originated in Magadha (Bihāra) and spread in India and its neighbouring states. A torso of a Jina having Mauryan polish and few other images available from the plinth of ancient Jaina shrine at Lohanipur (Patna) shows its deep roots since Mauryan period. Later on due to prediction of famine by great Acāryas as well as un favourable political conditions they were forced to leave Magadha.
7.2 The journey in Two Groups:
Jaina Sangha left Magadha in two groups, the first opted the journey towards Bengal in about 3rd to 2nd B.C. while second advanced to North-west nearly after hundred years.
7.3 The First Group:
At Bengal Bhadrabahu-I's four disciples had introduced four Śākhās for propagation, even the donation of land for the maintenance of a Jaina shrine as referred in Paharpura copper plate of Gupta Samvat 159 also indicates the Jainas' influence in Bengal. Moreover the early Jaina shrines in districts- Mānabhuma, Virbhuma, Sihabhuma, Baradhamāna, Puralia, 24 Paraganās etc. also support the prevalence of Jainism. At Kalinga / Andhra Pradesa :
The journey continued and the first group reached Kalinga (present Orissa) where the religion was in practice since Nanda period onwards as narrated in the victory inscription of King Kharvela. On this

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occasion, Sātvāhana king gifted giant ships for carrying elephants as per inscription. The excavation at Vaddamānu in Guntur district in Andhra Pradesa reveals that it was originally a Jaina centre, even the name Vaddhamānu sounds like Vardhamāna. The rulers of Andhra and Karnātaka- Cālukyas (early and late), Rāștrakutas and Kalcuris had liberally given grants to the Basadis. Nearly about 200 ancient Jaina shrinesl present a powerful pervasive picture of deep rooted impact of Jaina religion. The Jaina Mathas and monasteries at Bodhan, Hanumankondā, Vijayavādā, Kollipake, etc. thrived as the meridian of Jaina activities while the great poets Somdevasuri, Ponnā, Pampā and Rannā enriched the language and history of the state of Karnataka. At Tamil Nadu (North-east) : The Jaina group then entered the North-east region of Tamil Nadu which proved to be a fertile ground for the diffusion of Jainism, the Colā, Pāndya and Pallava prince-princess followed Jainism with dedication. The earliest architectural activities in the region commence with the Jainas natural caverns where sleeping beds for recluses were chiselled out in the rocks which are assigned to c. 3rd to 2nd B.C. Out of 89 early Tamil Brahmi inscriptions 85 are credited to Jaina affiliation engraved in the hill ranges around Madurai, Pudukottai and Tirunelveli. Their contribution in the state is amazing, the four Mahā-kavyas of Tamil literature- Nāldiyāra, Silāppadigrām, Jivakacintāmani and Kundalakesi are composed by Jainas. Even Tiruvalluvara's Kural also said to be written by Jaina Ācārya. Towards Simhal Island (Ceylon) : From Tamilnadu Jainism spread to Simhala Island (Ceylon) in early Christian era, as per the Buddhist scripture Mahāvamsa, which mentions about the king Pāndukābhaya who patronised Nirgratha Śramanas4. When Buddhism entered Ceylon, the Jainas were pushed back from Anurādhāpur in last century B. C., then they reached western Tamilanadu which has common boundaries with ancient Cera kingdom (now Kerala) consists
1
2 3 4
G. Jawahar, "Jainism in Andhra" at Seminar on Spectrum of Jainism in South India,'at Somaiya College, Bombay, Ibid Iravatham mahadevan: 'Early Tamil Epigraphy'; 2002. Dr. Hampa Nagarajaiya, an article on Jainism in Tamilnadu', at Seminar at Somaiya college, op.cit.

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of Malabāra, Kocina and Trāvankore. The ancient Jaina cave shrines under the patronage by Cera Kings in kerala are either destroyed or appropriated. The cluster of three Cārana caves near Citrāl, though one is converted but two are dedicated to Pārsva and Mahāvīra strengthened the entry of Jainism since earlier period. Karnataka: From Kerala Jainism wended its way to Karnataka. As per Digambara tradition during famine in Magadha, Bhadrabahu along with Candragupta Maurya reached Candragiri (Karnataka) and dispersed at various places to propagate and seek shelters. The state is famous for early and medieval Jaina shrines. Here Jainism was patronised by Kadamba kings. At Dharwad all Jaina Sanghas were patronised by Kadamba kings. Their inscriptions of donation commence with obeisance to Bhagavān Jinendra or Siddham. One inscription of donation by Kakusthavarmā is of Gupta Samvat 80, while other inscriptions are of later period, from Palasikā and Khetagrāmas villages. His grandson was a famous king Mrigesavarmā whose inscriptions are related with all traditions of Jaina Sangha throwing light on their ancient states. In the third year of his rule he donated land for rituals and repairing of Jaina shrine. In the fourth year, he donated full income of Kālavanga village after dividing in three parts- one for a Jaina shrine second for Svetāmbaar Sangha and third for Nirgantha Mahāsramana?. Here we get a reference of a Jinendra Mandira, common for ascetics of both traditions. In the reign of eighth year at Halsi he donated the land for the use of Yāpaniya, Nirgantha and Kurcakas8.
7.4
The Journey of Second Group: Now the second group commence their journey from Bihar to Mathurā via Ahicchatra and Pabhosā. The cave inscription of king Asādhasena at Pabhoșā for Kāśyapiya Ārhat is of 1st B.C. The second inscription (2nd B.C.) at the same place we get the genealogy of king Aşādhasena that he was a grandson of king Vangapala who was married to princess of Traivanilo (possibly Travankore state). In Svetambara tradition there is a
5 Jain Shilalekha Sam. no. 96 6 Ibid, no. 97 7 Ibid, no. 98 8 Ibid, no. 99 9 Ibid, no. 6 10 Ibid. no. 7

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legend regarding the establishment of three ancient images (Sankheśvara, Khambhata and Carupa) by Srāvaka Āsādhi, he might be the same. At Mathurā many inscribed artefacts from Jaina stupa since 2nd B.C. strengthened the existence of Jaina Sangha. The donation records on Āyāgapata and on other sculptures confirm the influence of Mathurā city among the followers of Jainism in India and abroad. Jaina Sangha at Mathurā welcomed the lay followers who established images, toraņas, pillars, life incidents of Jinas, etc. in shrines could be judged from their names on inscriptions. After leaving Magadha the second group settled in this Sauripura Janapada. The toraṇa of Uttaradasakall and Āyāgapata of Āryavati12 are the striking examples of popularity of Jainism in 2nd B.C. onwards. Jaina monks and follo were familiar with this route of north-east passing through Mathurāl3. After reaching Mathurā the group dispersed in two batches, first wended to proceed to Vidiśā and other choose the way to Rajasthan and Gujarāt. The Udaygiri caves at Vidiśā exhibits the existence of Jainism from 1st B.C. onwards. The group further proceed to Amarāvati, Bhadrāvati and then reached to North-west Karnataka. The Rajasthana group first settled at Sirohi and Sādadi, then at Avanti, Badanāvara, and Mandasor (Dasapura) in Mālavā while in Gujarat at Dhānk, Valabhipur and Talaja. The group further proceed to Maharashtra (via Bharuaccha) at Sopārā, Kalyan and Poona, afterwards settled at Dhārwāra in Karnataka. A Jaina Gaccha named Sopāraka originated from Sopārā. One donation record of late Gupta period at Navsari shows the Jainas' settlement in between Bharucha & Sopārā.
7.5
The Gathering of both Groups: In Karnātaka both Jaina groups from North-west and south with their relative batches gathered and resided together as observed from the above mentioned inscriptions of Kadmba king Mrigeshavarmā at Halsi and Dhārwāra. They donated land for the use of Bhagavat arhat mahā Jinendra devatā, Svetapatta mahā-Sramana-Sangha, Nirgrntha-mahāSramana-Sangha, Yāpaniya, Nirgrantha and Kurcchakas.
11 Ep.I. vo.-,no. 12 Ep. I.vo. II, no. 20. , 13 Puri B. N., “Jainism in Mathurā in the Early Christian Era", in Shri Mahavira Jain
Vidyalaya G. J. V., Bombay, 1968.

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Bibliography
(I) Sources : Jaina Abhidhāna cintāmaņi parts I-II, Hemcandra, Bhavnagar, 1915 and 1920. Abhidhāna Rājendra-Kośa, Vijay Rajendra suri, vo.1-7, Ratlam, 1913-37.
Second edi. 1985. Acara-Dinakara Vardhamansuri, a translation and thesis by Dr. Moksagunasriji,
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List of Illustrations
Fig.
1. Jina from Ramanagar, Kushana year 12, Lucknow Museum, J.686, pp.
26, 95, 99. 2. Jina chiselled in round, J.7 LM, pp. 26, 78, 122.
Same as fig. 2 back view. Same as fig. 2 side view.
Shalabhanjika - seeing the mirror, Mathura Museum, pp. 26. 6. Shalabhanjika - squeezing, the hair after bath, Mathura Museum, pp.
26. 7. Shalabhanjika – going to adore Jina, Mathura Museum, pp. 26.
Shalabhanjika – with a lamp, Lucknow Museum, pp. 26. 9. Worship of the lion pillar, J. 268 LM., pp. 30, 81.
Back view of fig. 9, showing its celebration with dance and music, pp.
30, 81, 90. 11. A Chovisi with Mulanayaka Rishabhadeva, Lucknow M., pp. 30, 42,
83, 91, 95, 156. 12. A colosal image of Rishabhadeva, Mathura M., pp. 30, 71. 13. Nilanjana dancing in the courts of Rishabhadeva, 2nd century B.C., J.
354 LM., pp. 31, 69, 152. 14. Narrative Panel, from the life of Vardhamana – transfer of embryo by
deity Naigamesha, J.626 LM., pp. 31, 68, 119. 15. The reverse scene of fig. 14, rejoicing with dance like Garaba after
completion. 16. A shrine at Chorasi, Mathura, pp. 32. 17. Inscribed footprint of Jambusvami in Chorasi shrine, pp. 32. 18. A pedestal of Vardhamana, pp. 32, 34. 19. Lintel showing worship of stupa by Suparnas and Kinnaras, J.535, pp.
33, 42, 61, 65, 76, 151. A reverse of fig. 19 showing a scene of procession of worshippers in
the chariot riding on horse and elephant, J.535, pp. as above. 21. Salabhanjika J.63 available with Lonashobhika's Ayagapatta, pp. 34, 68.

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Illustrations
251
22. Salabhanjika J.64 available with Lonashobhika’s Ayagapatta, pp. 34, 68. 3. A Ksetrapala with Jina on his head and dog as his vehicle, pp. 35, 115,
136. 24. A pedestal of Jina with words in inscription 'Deva nirmita stupa’ J.20
LM., pp. 36, 39, 71, 73. 25. Excavation photo of Kankali Tila, pp. 38. 26. Excavation photo of Kankali Tila, pp. 38. 27. Excavation photo of Kankali Tila, pp. 38. 28. Kankali devi shrine pp. 39. 29. Earliest depiction of Balarama, pp. 43, 110. 30. Sun with head gear and shoes, pp. 43, 69. 31. Kubera, pp. 43. 32. Earliest image of Sarasvati, J.24, pp. Earliest image of Sarasvati, J.24,
pp. 44, 88, 108, 123, 127. 33. Deity Aryavati, pp. 44, 77, 79, 127, 129, 134. 34. The counterpart of Naigamesha, pp. 44, 120. 35. Laksmi, 0.210 LM, pp. 44, 68, 120. 6. Ambica having Arishtanemi on head flanked with Balarama and Krishna,
pp. 44, 121. 37. Chakresvari, pp. 44, 121. 38. Inscription of king Kharvela at Udaygiri – Khandagiri, pp. 48. 39. A torso of Jina, pp. 59, 77. 40. An inscription at back of above torso fig. 39 stating the name of
Munisuvrata, pp. 59, 77, 156. 41. a) An Ayagapatta of Lonashobhika, pp. 36, 79, 108, 123, 133, 135,
136, 144.
b) The inscription of the same. 42. A painting of Ziggurat, pp. 65. 43. Rishabhadeva, pp. 67, 99, 166. 44. Parsvanatha, J.77 Lucknow Museum, pp. 67, 99. 45. Arishtanemi with Krishna and Balaram, pp. 67, 83, 101.. 46. A deity wearing thick anklets, pp. 68, 121.

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47. Parsvanatha with a deity in canopy, pp. 69, 122. 48. A narrative sculpture of Valkalchiri, pp. 69, 151. 49. A back of fig. 48, depiction related to story. 50. Parsvanatha with huge carving of yaksa Dharanendra, pp. 72. 51. Parsvantha with heavy features, pp. 77, 99. 52. Jina with halo behind the head, pp. 77, 96, 99. 53. Heavy well built body of Jina, pp. 77, 78. 54. Heavy and short body of a Jina, pp. 78, 99, 114. 55. The Sarvatobhadra with stretched hands and peculiar style in depicting
stomach, fig. 54, pp. 78, 83, 97. 56. Wavy curls of Jina, pp. 78, 99. 57. Sharp eyes and heavy eyelids of Jina, pp. 78. 58. Woman on crossbars: A - front and B - back view, pp. 78. 59. A torana showing procession in the city, National Museum, New Delhi,
pp. 79, 150. 60. Image expressing calmness on face, pp. 78, 79, 99. 61. Sarasvati image of medieval period in the rangamandapa at Keşhariyaji,
pp. 130. 62. Rishabhadeva, pp. 83, 99. 63. A wheel from Chausa, Bihar, pp. 80, 82. 64. Siddhacakra from Kapadvanj - Gujarat pp. 83. 65. Svastika from Indus valley, pp. 85. 66. Rishabhadeva with locks of hair on shoulders, pp. 90. 67. A parsvanatha from Durg, Chhatisagadha, pp. 99. 68. A canopy of parsvanatha, early Gupta period, pp. 90. 69. Arishtanemi with Krishna and Balarama, pp. 90. 70. Dvitirthi from Kumbhariaji, Rajasthana, pp. 90. 71. Tritirthi, pp. 91. 72. Sarvatobhadra image, hands reaching upto knees, pp. 78, 92. 73. Sarvatobhadra with devottees, pp. 93. 74. Sarvatobhadra, five tires pedestal, pp. 93.

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Illustrations
253
75. Sarvatobhadra with projection at bottom, pp. 93. 76. Sarvatobhadra from four sides, A, B, C and D, pp. 94. 77. Plain head of Jina, pp. 99. 78. Head of Parsvanatha, pp. 90. 79. Head of Jlna, pp. 99. 80. Head having height 30 inches, MM., pp. 71, 99. 81. Panchatirthi, with maladharis, elephant mount Indras and cavardharies,
pp. 91, 97, 100, 101, 116. 82. A Jina with adoring Indras, Mathura Museum, pp. 101. 83. Jina having nimbus with emerging rays, pp. 100. 84. The depiction of Ashtamangala on snake hood of Parsvanatha, pp. 90,
100. 85. Jina having stretched hands and devottees on pedestal, pp. 100. 86. A Jina having pedestal with a carving of nandipada together with wheel
forming three jewels flanked with an ascetic and a female ascetic, pp.
83,108. . A pedestal of Jina where an ascetic holds a Jholi to keep bowls for
carring food, pp. 43, 107. 38. A pedestal where a wheel is kept on a stand as well as adoring ascetics
with and without linen, pp. 83, 108. 89. Pedestal with ascetics carrying pratilekhana, pp. 108. 0. A) Jaina preceptor holding manuscript while delivering sermons, pp.
84. B) Image of Jinakushalsuri of late medieval period, Mandavala,
Rajasthan, pp. 84. 91. Balarama with Jaina ascetic and devotees, pp. 110. 92. The reverse of fig. 91 with depiction of mythological crocodile. 93. Head of a JIna, pp. 99. 94. Hiranyagameshadeva with children, pp. 120. 95. Acharya Buddhisagarji in pravachana-mudra, pp. 84. 96. Sarvatobhadra in Padmasana with Kubera and Ambica deity, pp. 94. 97. Sarvatobhadra image, pp. 93. 98. Sarvatobhadra image, pp. 93.

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99. Standing Jina with chavardhari. 100. Kanha Sramana and Vidyadevi, pp. 120, 127, 129, 133, 134. 101. Torana, pp. 122, 150 102. Torana reverse of 101, pp. 122, 150. 103. Shalabhanjika standing on a man, pp. 122, 145. 104. Sarasvati of early medieval period, pp. 130. 105. Ayagapatta showing symbol worship, pp. 80, 99, 133, 139, 155. 106. Ayagapatta decorated with wine creeper, pp. 76, 99. 107. Ayagapatta of Svastika, pp. 85, 134, 138. 108. Ayagapatta of a wheel, pp. 76, 134, 136. 109. Ayagapatta of Shivayasa, pp. 79. 110. Ayagapatta of Sihanadika, pp. 81, 89, 137, 157. 111. Ayagapatta of Bhadranandi, pp. 89, 137, 157. 112. Shalabhanjika standing on an elephant on a cross bar, pp. 78. 113. Inscribed Ayagapatta showing the worship of Bhadrasana, pp. 140. 114. Shalabhanjika plucking the flowers, pp. 142. 115. Jina having almond shaped eyes, Srivatsa and calmness on face, pp.
100. 116. The remaining portion of padmasana and standing Jina chobisi of gupta
period, pp. 97. 117. An image of Parsvanatha, Gupta period, pp. 97. 118. A sculpture showing a lady offering water while another lady is fanning.
The man seems to be Dhanasheth and the lady with water jar might
be Chandana, pp. 151. 119. A lady keeping a hand on stomach and holding offering with another
seems to be Mahavira's first female disciple Chandanabala, pp. 153. 120. The reverse scene of above sculpture, illustrating the story. 121. The pedestal of standing Jina Mahavira, pp. 157. 122. Jina Parsvanatha, pp. 159. 123. The patta carved on the wall at Jaina shrine using word Shilapatta by
Sompura artist, pp. 134.

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255
124. A sculpture might be Vardhamana asking permission to be an ascetic,
pp. 152.
125. A sculptured panel might be showing Vardhamana in meditation before
renouncing the world, pp. 152. 126. Jina Arishtanemi, flanked with a sadhu and a sadhvi, pp. 90. 127. A remain sculpture of palace of Dhamaghosa, pp. 59, 147. 128. A back of above portion of palace, pp. 59. 129. The sun image with flames and a cap, pp. 69. 130. The image of sun/ surya with one of its name Kaushiki adoring by
devottees at Sankhesvara, pp. 69. 131. The chhatra of a Jina having Ashtamngala on top, pp. 40, 154. 132. Pillars with female figures joined by three cross bars, pp. 141. 133. Gandhakuti, open from four sides where Jina sits on a dais (Kapadavanj),
pp. 92. 134. Tri-tirthi (Kumbhariyaji), pp. 77, 91. 135. Pancha-tirthi (Kapadavanj), pp. 77, 91. 136. Jina having lotus, beads and ornamented nimbus, early Gupta period,
pp. 100. 137. Ambica with Arishtanemi on head holding a bunch of mango and a child
with right and left hand respectively, two chavardharis where one has kept conch instead chavara. She is standing under a mango tree where her vehicle lion and two adorants are carved beautifully (Bhopavar),
pp. 121. 138. An early medieval 24-Jina-matrika-patta with a Jina on top from
Kumbhariyaji, pp. 114. 139. Sixteen Vidyadevis carved on ceiling of Kumbhariya shrine in similar
pattern like a square Ayagapatta having Jina at the centre, pp. 114. 140. Brahmi Inscriptions as per Epigraphia Indica vo. I, given in table, inscri.
no. 1, 2, pp. 206. 141. Epigraphia Indica vo. I, given in table, inscri. no. 3-4, pp. 207. 142. Epigraphia Indica vo. I, given in table, inscri. no. 5, 6, 7, 8, pp. 208,
209. 143. Epigraphia Indica vo. I, given in table, inscri. no. 9, 10, 11, pp. 210.

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144. Epigraphia Indica vo. I, given in table, inscri. no. 12, 13, 14, 15, 16, 17, pp. 211, 212.
145. Epigraphia Indica vo. I, given in table, inscri. no. 18, 19, pp. 212, 213.
146. Epigraphia Indica vo. I, given in table, inscri. no. 20, 21, 22, 23, 24, 25, 26, 27, pp. 213, 214, 215.
147. Epigraphia Indica vo. I, given in table, inscri. no. 28, 29, 30, 31, 32, pp. 215, 216, 217.
148. Epigraphia Indica vo. I, given in table, inscri. no. 33, 34, 35, pp.
217.
149. Epigraphia Indica vo. II, given in table, inscri. no. 1, 2, 3, 4, 5, 6, 7, pp. 217, 218, 219.
150. Epigraphia Indica vo. II, given in table, inscri. no. 8, 9, 10, 11, 12, 13, 14, 15, pp. 219, 220, 221.
151. Epigraphia Indica vo. II, given in table, inscri. no. 16, 17, 18, 19, pp. 221, 222.
152. Epigraphia Indica vo. II, given in table, inscri. no. 20, 21, 22, 23, 24, 25, 26, pp. 223, 224.
153. Epigraphia Indica vo. I, given in table, inscri. no. 27, 28, 29, 30, 31, 32, 33, 34, pp. 225, 226.
154. Epigraphia Indica vo. II, given in table, inscri. no. 35, 36, 37, 38, 39, pp. 227, 228.
155. Epigraphia Indica vo. X, given in table, inscri. no. 3, pp. 229. 156. Epigraphia Indica vo. X, given in table, inscri. no. 3, 8, pp. 229, 231.
157. Epigraphia Indica vo. X, given in table, inscri. no. 4, 5, pp. 229, 230.
158. Epigraphia Indica vo. X, given in table, inscri. no. 6, 7, 9, 10, pp. 230, 231, 232.

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Fig. 1
Fig. 3
Illustrations
Fig. 2
Fig. 4
257

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The Jaina Stupa at Mathura: Art & Icons
Fig. 5
Fig. 6
Fig. 7
Fig. 8

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Illustrations
259
Fig. 9
Fig. 10
Fig. 11
Fig. 12

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260
The Jaina Stupa at Mathura: Art & Icons
Fig. 13
Fig. 14
We are
Fig. 15

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261
Fig. 16
Fig. 17
WSCRIBED PEDESTAL OF ANIMAGE OF VARDHAMANA DATED IN KUSHANA YEAR SOM) Established by a Jatne lady who kasted for an und
From Marikali Yild. Mathuna. वर्धमान प्रतिमा की चौकी जिसे एक महीने का उपवास रखने वाली देवी
विजयश्री ने सं, ५ ) में स्थापित किया
कंकाली टीला अपरा।
Fig. 18

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The Jaina Stupa at Mathura: Art & Icons
Fig. 19
Fig. 20
Fig. 21
Fig. 22

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Illustrations
263
Fig. 24
Fig. 23
KARK
MATHON
T
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Fig. 25
Fig. 26

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264
The Jaina Stupa at Mathura : Art & Icons
Fig. 27
Fig. 29
जैमाई की.
Fig. 28
Fig. 30
जय
माता
की
जै माई की

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265
Fig. 31
Fig. 32
GOAT MEADED JAIMA
MOTNER GODDESS
Fig. 33
Fig. 34

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The Jaina Stupa at Mathura: Art & Icons
Fig. 35
Fig. 37
Luster.
Fig. 36
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Fig. 38
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V. VENKATYA
FRONT.
Fig. 39
Fig. 41-A
Illustrations
DACK
Fig. 40
267
अभिलेख
१- नमो अरहतो वर्धमानस आराये गणिकास्ये लोण शोभिकाये धितु शमण साविकाये। ३- नादाये गणिकाये वसु (ये) अरहतो देविकुल४- आयाग सभा प्रपा शिल (T) प (टो) पतिस्थापितो निगथा
५-नां अरह (ता) यतने स [हा] म (T) तरे भगनिये धितुरे पुत्रेण ६- सर्वेन च परिजनेन अरहत पूजाये
Fig. 41-B

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268
The Jaina Stupa at Mathura: Art & Icons
WHA
16
THE ZICGURAT OF ER-NAMINIU chthiplending in the role of the sain are
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Fig. 42
Fig. 43
Fig. 44
Fig. 45

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J.23
LOWER PART OF A FEMALE IMAGE ESTABLISHED
IN SAKA ERA 52-A 0.130
स्त्री मूर्ति की चरण चौकी शक संवत् १२-ईस १३ प्रारिमन
باستانی و عورت عورت کا نیا حق
Fig. 46
BBBBBA
Fig. 48
Illustrations
Fig. 47
Fig. 49
269

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The Jaina Stupa at Mathura: Art & Icons
Fig. 50
Fig. 51
Fig. 52
Fig. 53

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Fig. 54
Fig. 56
Illustrations
Fig. 55
Fig. 57
271

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The Jaina Stupa at Mathura: Art & Icons
Fig. 58-A
Fig. 58-B
Fig. 60
Fig. 59

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Illustrations
273
LO
Fig. 61
Fig. 62
EXYTOK
Fig. 63
Fig. 64

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The Jaina Stupa at Mathura: Art & Icons
500
501
502
503
504
505
506
507
509
508
510
511
512
513
514
515
Fig. 65
Fig. 66
Fig. 67
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Fig. 68

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275
Fig. 69
Fig. 70
Fig. 71

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276
108
The Jaina Stupa at Mathura: Art & Icons
Fig. 72
Fig. 74
Fig. 73
Fig. 75

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Illustrations
Fig. 76-A
Fig. 76-B
Fig. 76-C
Fig. 76-D

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278
The Jaina Stupa at Mathura: Art & Icons
J1891
TIRTHANKAR HEAD MUSHANA PERIOD.
FREMMATHURA तीर्थकर मूर्तिका सिर।
Fig. 77
Fig. 78
J.180 TIRTHANKAR HEAD. KUSHANA PERIOD
FROM - MATHUGA तीर्थकर मर्ति का सिर।
Fig. 79
Fig. 80

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279
ध्यानस्य जिन प्राप्तिस्थान
INA IN MEDITATION WIND FLARE NOT OWN A PERO
Fig. 81
Fig. 82
මට ම ම
Fig. 84
Fig. 83

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280
The Jaina Stupa at Mathura: Art & Icons
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Fig. 86
Fig. 88
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Fig. 87
Fig. 89

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Illustrations
281
Fig. 90-A
Fig. 90-B
Fig. 91
Fig. 92

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282
The Jaina Stupa at Mathura: Art & Icons
Fig. 93
Fig. 94
Fig. 95
Fig. 96

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Illustrations
283
Fig. 97
Fig. 98
Fig. 99
Fig. 100

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284
The Jaina Stupa at Mathura: Art & Icons
Fig. 101
Fig. 103
Fig. 102
Fig. 104
DOW

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Illustrations
Fig. 105
Fig. 106
285

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286
The Jaina Stupa at Mathura: Art & Icons
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Fig. 107
Fig. 108

Page #288

OUTLET HOR
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Fig. 109
NUEST JAY 20
Fig. 110
287

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288
The Jaina Stupa at Mathura: Art & Icons
Fig. 111
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Fig. 113
Fig. 112

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Illustrations
289
Fig. 114
Fig. 115
Fig. 116

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290
The Jaina Stupa at Mathura: Art & Icons
Fig. 117
Fig. 118

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Illustrations
291
Fig. 119
Fig, 120
3
ห้องนอน
Fig. 121

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292
The Jaina Stupa at Mathura: Art & Icons
Fig. 122
શિલાપટ કરનાર શિલ્પી ચંદુલાલભગવાનજીોમપુરા દિનકર બી સોનપુરા ઠે. લવદ રૉનાથે સેર ગેઈટ લોગર
સૌરાષ્ટ્ર
Fig. 123

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293
Fig. 124
Fig. 125
Fig. 126

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The Jaina Stupa at Mathura: Art & Icons
מאירי אסוציאצ'י
Fig. 127
Fig. 128
Fig. 129

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Fig. 130
Illustrations
Fig. 132
Fig. 131
295

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The Jaina Stupa at Mathura: Art & Icons
Fig. 133
Fig. 134
Fig. 135
Fig. 136

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297
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Fig. 138
Fig. 139

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298
The Jaina Stupa at Mathura: Art & Icons
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300
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301
MATHURA INSCRIPTIONS NON XXXI-XXXV
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Fig. 150 Br. EI-II, epigra. 8-15.

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302
The Jaina Stupa at Mathura: Art & Icons
MATHURA JANA INSCRIPTIONS (NEW SERIES) NO KYLKIX : Dated Sam 3
No.
Net Date Sun
ཚོ
No. 18 Dated Sam 52
22%faནོནྟརིཡརྩilRཙ༡°ནོ81443རོལུa468g བློ་སྦྱོaཕྱིgsanggབབ་བཏོgged cཀའམྱ༢༢ སྐྱབཝིཏཾ ༔རྣམྱRམཙུན་རྣམ་༢ པ།
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Fig. 151 Br: EI-II, epigra. 16-19,
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Fig, 152 Br EI-II, epigra. 20-26.

Page #304

No. 34
21
MATHURA JAINA INSCRIPTIONS (NEW SKIES) V
Illustrations
LIZ JUHLXUZ J
: 43+ 7 +43=1 ko úú પુજાપ
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Fig. 153 Br. EI-II, epigra. 27-34.
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Fig. 154 Br. EI-II, epigra. 35-39.
303

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304
The Jaina Stupa at Mathura: Art & Icons
SOS
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Fig. 155 Br. El-X, epigra. 3.
Fig. 156 Br. EI-X, epigra. 3,8.
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Fig. 158 Br. EI-X, epigra. 6,7,9,10.

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