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 m khh b 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 punyAne mukSAra che. reNuina kha9 )rAja, ane , # vartamAna muja kara jAna chejha . prayA "majurI khena " mAphera che kApane kAraNe yA zreSTha sahanIpha kaTara che ne dhananaM ane mutane) muna khare che. 3, psa nahI ho. vartamAna samaya #ena mahattva che, pukha) . draSTi ane huM je ho, to surakSita 2vane 2), hame ma Te, PsA cheSThattama prayAsa che sakAnichA che nAma che hA 34) manahara mAne che. mAne che ke pavitra prayAsa che je 23 haste sAjada ajI. mwl nayapakSasAra,

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The Jaina Stupa at Mathura: Art & Icons di. 21-11-2015 vidUSI DaoN. reNukA poravAla ne mathurA kA jaina purAtattvIya adhyayana para zodhapUrNa mahA nibaMdha likhakara aitihAsika anusaMdhAna kiyA hai| mathurA stUpa ke abhilekhoM se jaina zvaitAMbara paraMparA ke munigaNa-vAcakavaMza ke ullekha prApta hote haiN| zilpa evaM abhilekhoM ke mAdhyamase tatkAlina pravAhoM kI jAnakArI milatI hai| vidUSI reNukAbena ne isa mahA nibaMdha meM vistRta chaNAvaTa ki hai| vidUSI lekhikA kA lekhana niraMtara calatA rahe evaM jaina itihAsa samRddha hotA rahe aise maMgalamaya aashiirvaad| da: A. kalAprabhasAgarasUri kA dharmalAbha AOOTOYOTIOYOOOOOOOOOOOOS muMba, tA. 21-12-2015 zrImatI DaoN. reNukA poravAle jaina dharma ane sAhityamAM AcAryazrI buddhisAgarajI para mArA mArgadarzanamAM zodhanibaMdha taiyAra karI muMbaI yunirvasiTImAMthI pIeca.DInI DigrI meLavI. temanI saMzodhana yAtrA AgaLa vadhI ane athAga parizrama dvArA bhAratIya dharmonA prakhara vidvAna pUjya DaoN. sAgaramalajInA nirdezanamAM "mathurAnA jaina stUpa : kaLA ane pratimAo" - graMtha taiyAra karyo. teo saMzodhanakSetre khUba pragati kare, temane mArA aDhaLaka AzirvAda ane zubhecchA. DaoN. kalA zAha

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Foreword mathurA kA purAtattvIya vaibhava - jaina samAja kA dizA-darzaka mathurA kA jaina purAtattva jaina saMskRti kA AdhAra kahA jA sakatA hai| mathurA ke purAtattva ke adhyayana ke binA jaina dharma kA samyak itihAsa nahIM jAnA jA sakatA hai| yadi hameM jaina dharma kA sampradAya nirapekSa itihAsa jAnanA hai, to hameM mathurA ke abhilekhoM aura usakI purAtattvIya sAmagrI kA adhyayana karanA hogaa| jaina sampradAyoM kA vikAsa kaise-kaise huA hai, isako samajhane ke lie hameM mathurA ke jaina stUpa aura usase prApta purAtAtvIka sAmagrI ko samajhanA Avazyaka hai| jaina dharma se sambandhita prAcIna abhilekhoM meM bar3alI ke abhilekha ko choDakara prAcInatama abhi hI prApta hote hai, cAhe jaina mUrtikalA ke vikAsa kI bAta ho yA jaina deva-maNDala ke vikAsa kI bAta karanA ho mathurA kA purAtattva usakI eka AdhArabhUta ikAI hai| jaina-itihAsa aura jaina sampradAyoM ke vikAsa ko jAnane hetu mathurA kA jainazilpa eka AdhAra-bhUmi prastuta karatA hai| jaina muniyoM ke nagnatva se lekara paravartIkAla se hue vastra-pAtra se sambandhita vikAsa ko samajhane hetu mathurA ke jainazilpa dizA darzaka hai| yadi hama mathurA ke purAtattva ko dekhe to usameM sampradAya-nirapekSa jaina itihAsa abhivyakta hotA dikhAI detA hai - udAharaNa ke rUpa meM mathurA meM adhikAMza jinamUrtiyA padmAsana meM milatI hai, aura jo bhI khaDagAsana kI pratimAe~ hai ve to spaSTatayA nagna hai aura jo padamAsana kI pratimAe~ hai, una para vastra kA koI cihna nahIM hai, jo jaina itihAsa ke prAcInatama svarUpa kA bodhaka hai| jaina muni ke nagnatva se lekara paravartI vasva-pAtra ke vikAsa kI aneka kar3iyA~ mathurA ke jaina purAtatva meM hI upalabdha hotI hai| jaba jaina dharma se sambandhita abhilekhoM ko dekhate hai, to patA calatA hai kI unameM jina gaNoM, zAkhAAo aura kuloM kA ullekha hai, ve saba zvetAmbara paramparA ke kalpasUtra kI paTTAvalI ke anurUpa hai| unameM jina gaNoM, kulo aura zAkhAoM kA ullekha huA hai, ve saba kalpasUtroM kI paTTAvalI yA therAvalI ke anurUpa hI hai| kintu dUsarI ora jina-pratimAoM kI pAdapITha para jo jaina maniyoM kI martiyo ke aMkana haiM ve jaina saba jaina dharma ke sampradAyoM ke vikAsa kI kahAnI kahate pratIta hote haiN| muni mUrtiyA~ nagna bhI hai, aura unake hAtha meM kambala aura mukha vastrikA bhI parilakSIta hotI hai| jaina dharma meM sampradAyoM kI vikAsa kA pAramparika mAnyatAoM se nirapekSa jo itihAsa hai vaha to hameM mathurA ke purAtattva meM hI mila pAtA hai| eka ora muni mUrti nagna hai, to dUsarI ora usake eka hAtha meM picchI hai, jo digambaratva kI sUcaka hai, dUsarI ora usI muni ke dUsare hAtha meM zvetAmbara paramparA ke anurUpa jholI aura pAtra bhI hai| yaha saba isa bAta kA sUcaka hai ki jaina dharma ke AcAra-vicAra meM vastra-pAtra kA vikAsa kisa krama se huA hai, yaha tathya hameM mathurA ke purAtattva se hI prApta hotA hai, kahA jAtA hai ki pATalIputra ke pazcAt jaina dharma kI muni-paramparA do bhAgoM meM vibhakta huI, eka paramparA baMgAla kI khADI ke taToM se gujarate hue uDIsA, AMdhra aura tamilanADu ke rAste se hotI huI laMkA taka pahu~cI .

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The Jaina Stupa at Mathura: Art & Icons vahA~ se lauTate hue punaH karnATaka ke rAste dhAravADa ke samIpa uttarI karnATaka phuNcii| yaha dhArA dakSiNa ke uSNa-pariveza ke kAraNa nagna yA acela hI rahI aura nirgranthasaMgha ke nAma se jAtI rhii| dUsarI dhArA pazcimI uttara pradeza se hotI huI mathurA pahuMcI aura vahA~ se vindhya hotI haI vidizA aura amarAvatI ke rAste uttara-pazcimI karnATaka paha~cI. yaha dhArA nagnatva para bala detI rahI, kintu apavAdika sthiti meM sImita vastra-pAtra ko svIkRta bhI karatI rahI, yaha dhArA yApanIya khlaaii| jo dhArA mathurA pahuMcI thI vaha bhI vibhakta hokara hariyANA, paMjAba, rAjasthAna ke rAste kalyANa, puNe hotI huI uttara-pazcimI karnATaka pahu~cI, yaha dhArA zvetapaTTa mahAzramaNa saMgha ke nAma se jJAta huI, isI kI eka zAkhA - kUrcapura (kucerA-rAjasthAna) ke AdhAra para kUrcaka saMgha khlaaii| Aja bhI halasI ke abhilekhoM meM jainadharma kI ina cAroM zAkhAoM ke ullekha upalabdha hai| jo zAkhA uttara-pazcimI bhArata ke rAste paMjAba aura uttarI rAjasthAna pahuMcI thI vahA~ zIta kI adhikatA ke kAraNa nagnatva para aDiga na raha sakI tathA kambala vastra aura pAtra ko svIkAra liyA gayA, yaha paristhiti ke sAtha samajhautA thA, yaha zAkhA zvetapaTTa mahAzramaNa saMgha ke nAma se abhihita hotI rahI hai, zvetAmbara muni paramparA isI kA paravartI rUpa hai| yahI jaina dharma kI zvetAmbara aura digambara zAkhAoM ke vikAsa kA saccA itihAsa hai, mathurA kA purAtattva isI kahAnI ko spaSTa karatA hai| mathurA ke purAtattva kA eka lambA itihAsa jo IsA kI prathama sahastrAbdi arthAt IsvI san kI prathama zatI se lekara bArahavI zatI taka ke parivartanoM kI kahAnI kahatA hai| vastutaH jaina sampradAyo ke utthAna-patana kI yathArtha kahAnI mathurA kA purAtattva hI prastuta karatA hai| mathurA meM jaina purAtattva kI sAmagrI IsA kI prathamazatI se lekara IsA kI 11-12 vI zatAbdi taka kI anavarata kAla krama se prastuta karatA hai| ___ bahana reNukA jI poravAla ne isa sambandha meM jo adhyayana kiyA hai vaha sampradAya nirapekSa hai aura vidvAnoM ko usa dizA meM adhika prayatnazIla hone kA saMketa karatA hai| Aja jaina samAja kA aura usake vidvAnoM kA yaha durbhAgya hai ki ve sampradAya nirapekSa jaina itihAsa kI saMracanA meM prAyaH niSprANa bane hue hai| acchA ho ki bahana ke prayatna se mathurA kI jo sAmagrI prakAza meM AyI hai aura hama vAstavikatA ko samajha ske| bahana reNukA jI kA yaha prayatna hamArA preraka bne| unhoMne isa sambandha merA dizA-darzana meM jo prayatna kiyA hai vaha sampradAyoM kI khAI ko pATane meM sahAyaka ho| isa punItta kArya meM merA unheM sahayoga rahA hai aura eka gRhaNI hokara bhI vidyA ke kSetra meM unhoMne jo prayatna kiyA hai jaina samAja aura vidvat varga usakA lAbha utthaaye| iti alm| sAgaramala jaina prAcya vidyApITha zAjApura (ma.pra.)

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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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10 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. Buhler 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 eka gRhiNInuM saMzodhana tapa DaoN. reNukAbenano saMzodhana vyApa Azcarya pamADe evo to che ja, paNa ethI vizeSa vyApa to emanI vaividhya vidyA saMpattino che. kolejakALamAM vijJAnanA vidyArthInI be.esa.sI., pachI gRhiNI zrAvikAnI javAbadArI sAthe kAyadAmAM ela.ela.bI. snAtaka thayA, e ochuM lAgyuM hoya eTale pU. buddhisAgarasUrIzvarajInA jIvana ane kavana upara mahAnibaMdha lakhI pI.eca.DInI upAdhi potAnA baTavAmAM mUkI dIdhI. A alpabhASI zrAvikAne A paNa ochuM lAgyuM eTale potAnA saMzodhana jIvane vistArI zilpa-sthApatyano abhyAsa karyo. jJAna bhaMDAronI mulAkAta lIdhI, zilpasthApatyo pAse pahoMcI parizrama karyo ane Aje teo ApaNA hAthamAM A 'mathurAnA jaina pa kaLA ane pratimAo'no mahAgraMtha smitavadane mUke che. - vidyA zAkhAnA A kAryathI DaoN. reNukAbena, anya zrAvikA gRhiNIonA preraNAsrota bane che. zabda ane zilpathI ja jagatanA dharmo ane saMskRti jIvaMta rahe che. zabda dvArA zilpanA abhyAsathI dharma ane saMskRtinA vikAsa tathA parivartananI vartamAnane khabara paDe che. DaoN. reNukAbene A graMtha thakI A pUNya karma karyuM che. sAta prakaraNamAM vistarAelA A graMthamAM mathurAnA jaina stUpanI citrasaha saMzodhanAtmaka ane sarjanAtmaka mAhitI bharelI che. stUpa eTale bauddhaunA ja!!! evI sAmAnya mAnyatAne khaMDita karI jaina stUpanI mAhitI, uparAMta anya zilpa-sthApatyanI mAhitIthI A graMtha vadhAre samRddha banyo che. te uparAMta zilAlekho ane aMgrejI bhASAmAM eno anuvAda paNa A graMthane morapiccha apAve che. jaina zabda-zilpa graMtha bhaMDAromAM zobhI uThe ane vAcako mATe jJAnavardhaka bane evA A graMthane ApaNe sahu vadhAvIe ane A puraskRta kArya karavA mATe emane protsAhita karanAra emanA gurUjano, parivArajano temaja mitrone zabda-vaMdanA karIe. - DaoN. dhanavaMta zAha muMbaI, 7-12-2015.

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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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14 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 Sramanic Tradition): 1.3 The Union of Vedic and Sramana Traditions: 1.4 Glory of Jainism: 1.5 The Centre of Indian Culture - Mathura: 1.6 Historical Background: 1.7 The importance of Mathura in Jaina Culture: 1.8 Jaina Culture at Mathura: 1.9 The Grandeur of Mathura in Jaina Tradition: 1.10 Jaina Stupa at Mathura: 1.11 The Elucidation of Jaina Tradition through 'Deva Nirmita Stupa': ..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 Stupa: 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 Stupa: 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 Mathura 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 Kusana, Gupta and medieval period with its distinctive features: 3.13 The eyes, hair arrangements, Usnisa, Nimbus and facial expression of Jina images: 3.14 The carving of auspicious symbols on palms, toes of Jinas and snake hood of Parsvanatha: .46-74 .75-108

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16 The Jaina Stupa at Mathura: Art & Icons 3.15 Lions on the Pedestal: 3.16 Cognizance or Lanchana: 3.17 The round carving of Tirthankaras - Mathura 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 & Balarama 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 Mathura Art School: 4.6 Aryavati: 4.7 Negamesa or Harinagamesi: 4.8 The Transfer of Embryo as described in scriptures: 4.9 The images of Negamesha from Mathura: 4.10 Vidya: 4.11 Laksmi: 4.12 Ambika: 4.13 Cakresvari: 4.14 Some unidentified Deities: 4.15 Dharanendra and a Yaksi in a canopy of Parsva: 4.16 Sarsavati: 4.17 The Srutadevi Sarasvati in Ardhamagadhi Agama Literature: 4.18 Development of Srutadevata/srutadevi: 4.19 The adoration of Sarsvati in various scriptures: 4.20 The comparison of the three images of deities - Aryavati, 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 Ayagapatas: 5.2 Ayagapatas in the Scriptures: 5.3 The Classification of Ayagapatas: 5.4. The description of some of the Ayagapatas (1 to 22) : 5.5 Railing Pillars: 5.6 The Concept of Salbhanjika: 5.7 Defination: 5.8 Scriptural References (Rgveda, Nidankatha and Avadansataka, Raypasaniya-sutra) : 5.9 Elucidation: 5.10 The adopted Theme of Salbhanjika in Sculptures: 5.11 Evolution of Salbhanjika: 5.12 Comparison of Stupa with Yana in Rayapasenium-su 5.13 Toranas: 5.14 Some specimens illustrating life incidences of great men: 5.15 Few unclarified reliefs from Kankali Tila: 5.16 Chatra - The flat roof of Shrine: 5.17 Mathura's Jaina images with special reference to Usnisa: Chapter 6: The Early Epigraphic Records of Mathura ............. 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 Mahamantra Navakara and Its Present Form: 6.8 The Yantra of Navakara Mantra: 6.9 The Roots of Gana, Kula, and Sakha of the Preceptors: 6.10 The Sthaviravali/Theravali as Expounded in Kalpasutra: 6.11 Sanksipta Vacana and Vistruta Vacana (Short and Detailed reading): 6.12 Agama Vacana: 6.13 The Classification of Agamas: 6.14 The Antiquity of Agamic Literature and Its Composition: 6.15 The Basic Language of Agamas: 6.16 Yapaniya and Digambara Scriptures: 6.17 The Table of Agama Vacana 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 silalekha-II, Epigraphia Indica, Indian Antiquary, etc. with the Year of Donation: 6.21 Mathura Image Inscriptions in Prakrit: 6.22 Mathuran Inscriptions in Brahmi 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 Tila V.T. Kalpa Vividha Tirtha Kalpa JSS Jaina Shilalekha Sangraha Jaina Stupa..of Mathura.. 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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20 The Jaina Stupa at Mathura: Art & Icons Table of Transliteration 15 is cha dha pha bha bha ma ksa jna

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1 The Place of Mathura 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 (moksa). Here, respecting every religion is a part of human value. The principle of morality is observed everywhere. The ancient town, Mathura has played a significant role in the development of the religion and culture of India since Mahavira's period as referred in Avasyaka-curnil. The gigantic statues of the Mauryan period- the images of Jinas, Bodhisatvas and yaksas, the elegant Salabhanjikas, beautiful paintings of Krsna's Rasalila in ancient Dvarakadhisa shrine, earned the city fame as a treasure trove-of-art. 1.2 Indian Spiritual Traditions (Vedic and sramanic): India has its own spiritual tradition which has been developed in the course of time. These are: i) Vedic and ii) Sramanic. Vedic tradition is based on rituals, known as "Pravrtti Marga" while Sramana stresses on renunciation called "Nivrtti Marga". Vedic Tradition: The Vedic or Brahmanical 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 yajnas. 1 Sharma R.C., Mathura- The Jaina Tirtha Karikali, Hindi, (Mathura, Jambusvami Digambara. Jain Siddhaksetra Samiti, Corasi, 1971), pp. 3.

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The Jaina Stupa at Mathura: Art & Icons The tradition is further classified into two factions:A. Devotional cult (Bhakti marga). B. Ritualistic cult (Yajna or Karma marga). Those who follow the devotional cult chant mantras (hymns) to please deities such as Indra, Varuna, Agni, Vayu etc. who control the various forces of nature. The ritualistic cult proposes techniques of performing rituals, which are sourced from the Brahmana literature. It describes methods for performing yajnas and offerings to please the deities. In Veda, rituals and yajnas 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 Aupanisadika period, the concept of spiritual living was introduced. Isavasyam is the first effort to interfaith both traditions and the second is the Bhagavad-Gita. The present Hindu religion with its developed concepts of renunciation, austerity, moksa etc. establishes that it had adopted, absorbed and incorporated some of these doctrines from the Sramana tradition and developed them in a new form. Sramanic Tradition: Many philosophical systems- Ajivika, Aupanisadika, Sankhya, Yoga, Buddhist, Niganthas, etc. were the parts of the ancient Sramanic tradition. Of these, the Ajivika sect is now extinct while Aupanisadika, Sankhya and Yoga merged into the Vedic tradition. The word Nigantha or Nirgrantha was used only for the followers of Parsva and Mahavira's tradition which came to be known as Jaina after the 6th - 7th century A.D. The later Sramanaic tradition includes only Buddhism and Jainism. The Sramanas worship Arihanta, so known as Arhat. References to Arhat, Vratya, Vatarasana Munis, etc. are found in the aegveda, showing their early existence. Even the seals of the Indus valley showing recluses performing austerities in the forest could perhaps be Sramanas. Thus the antiquity of this tradition goes back to the earliest civilisation of India. 2 1) Jain Sagarmal, Jain Dharma ka Samksipta Itihas: (Sajapur, Pracya 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 Place of Mathura in Jainism 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 Tirthankaras. 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 moksa, the goal of life, importance is given to detachment. This tradition protests against yajnas, rejects the caste system and supports equal rights for women. 1.3 The Union of Vedic and sramanic Traditions: Due to the impact of the Sramanic tradition, the yajnas of Vedic times involving injury to living beings changed to spiritual ones and because of the Vedic influence, Buddhism accepted many elements of the Pravitti marga into their Mahayana and Tantrayana schools of thought and the same happened with Jainism also. Theragatha, Rsibhasita (4th century B.C.) and isavasyopanisad propound that in ancient times all the different philosophies coexisted through religious tolerance. Theragatha provides discourses of saints of different traditions including Vardhamana (Mahavira). Rsibhasita shows the mutual understanding between all faiths. It refers to 45 Rsis like Narada, Asitdevala, Angirasa, Parasara, Aruna, Narayana, Yajnavalkya, Uddalaka, Vidura, Sariputta, Mahakasyapa, Mankhali-Gosala, Sanjaya (Veliththiputta), etc. as Arhat or Brahamana or Bauddha Rsis?. This scripture establishes that the original source of all Rsi 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 (Gatha) of the Upani sada - Isavasyam 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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The Jaina Stupa at Mathura: Art & Icons 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 Tirthankaras. The concept of Sarasvati is considered as a Sruta Devata in Jainism while Laksmi stands for prosperity. Ganesa became a Parsva Yaksa, to spread Mangala and Kalyana i.e. auspiciousness everywhere. A stotra was composed by Bhadrabahusvami- II at the time of an epidemic, the chanting of which helps in reducing troubles//Uvasaggaharam Pasam (Parsva yaksa), Pasam (Jina Parsva) vandami, kammagana mukkam, Visahara, visa ninnasam, Mangala Kallana Avasam.// Jainas do respect Brahamanas 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. Srivatsa, 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 Arhat, Vratya, Sramana, Nirgantha, Nigantha, Anekanta, Jina dharma etc. The five tenets of Jainism are non-violence (Ahinsa), 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 Samksipta Itihasa, 2003, pp. 12-13. Rastogi S., Lakhanau Samgrahalaya ki Jain Pratimayen, (Lucknow, Sri Bharat Varsiya Digambar Jain Mahasabha, Esabaga, 2002), pp. 2.

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The Place of Mathura in Jainism 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 Anekantavada - 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 - Mathura: Mathura is very sacred and referred to as a 'Moksadayi Tirtha' in all Indian traditions - // Kasi kanci ca Mayakhya tvayodhya Dvaravatyapi Mathuravantika caitah sapta puryauca moksadah // The sloka from Garuda Purana states that Banaras (Kasi), Kanci, Haradvara (Maya), Ayodhya, Dvaraka, Mathura and Ujjain (Avantika), all seven cities are sacred. The city of Mathura was at the crossroads of the "Great Caravan" route, joining the north eastern towns of Patliputra and Tamralipti as well as southern towns like Avanti, Broach, Cambay, etc. with Gandhara and other parts of the world. Thus Mathura was connected with sea link by ports like Cambay and Broach. The rich city of Mathura is situated on the western bank of the sacred Yamuna, at longitude 77deg 41' E. and latitude 27deg 28' N. It is 145 km away from Delhi and 58 km from Agra. The other names for this city from ancient times are Mahura, Madhura, Uttara Madhura, Uttara Mathura, Madhupuri, Madhusikha, Madhupaghana, Madhuban, Mathula and Mahurau. Ptolemy calls this city Modouralo. Mathura 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 Purana, 2.28.3, in Sharma V. K., History of Jainism with special reference to Mathura, (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 Mathura, (New Delhi, D. K. Printworld (p) Itd., 1993), pp. 29. II) District Gazetteer, (Mathura, 1968), pp. 1

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The Jaina Stupa at Mathura: Art & Icons was prosperous so many people spent their profits in constructing shrines and idols for the religious needs of the society while rich Sresthis of the town employed skilled artists for constructing magnificent shrines. Many Jaina and Buddhist icons of Mathura School available from Ahicchatra (fig. 1), Sarnatha and other places show the popularity gained by the Mathura artists. An idol of Jina, an Ayagapatta, a Sarvatobhadra idol, etc. assigned to the early Kusana period were recovered from Ahicchatrall Some Buddha images of this School were also unearthed from Sarnatha. These show that artists from Mathura were commissioned for carving the sculptures from remote places too. Before the Gandharan artists arrived at Mathura, the art School of Mathura flourished in the Sauripura Janapada where Mathura was its capital. Later on, these artisans were patronized by the Kusana kings. The classical artists of Mathura have produced gigantic images in round which continued up to the end of Kusana 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 Mathura is well reflected in the charming Salabhanjikas 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 Mathura ki chori karma futya ho to bahara jaye." Means the cows of Gokul and the daughters of Mathura go out of the city only if their luck is unfavourable. To this day, the common practice in Mathura 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 Samgrahalaya ki Jain Pratimayen, (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 Mathura 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: Mathura 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 Ramayana period Mathura was ruled by Madhu, a powerful demon. As per legend after his death, his equally strong son Lavana ruled the territory. Due to his egoistic nature he challenged Sri Rama 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 stupa was erected in the memory of the Seventh Tirthankara Suparsvanatha as per Jaina scriptures 15 viz. Malayagiri-tika of Vyavahara-curni, Ogha-nirykti-tika, Yasastilaka-campu, Tirtha-mala, Vividha-tirtha-kalpa, etc. In the Mahabharata age, Mathura was the capital of Sursenadesa, ruled by the Yadava kings. It was one of the fifteen Mahajanpadas. As referred, during the Nanda, Mauryan and Sunga rule, it was part of Magadha. Asoka built some Buddhist stupas on the bank of the river Yamuna, as mentioned by Hiuen Tsang. Patanjali had also mentioned Mathura'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 Mathura came under the Mitra rule, followed by the Saka-Ksatrapa rule. Of these, Rajubala/Rajula and Sodasa were remarkable. One of the branches of Sakas was subsequently known as Kusana. A number of inscriptions with the dates of Kusana kings Kaniska, Huviska and Vasudeva have been found from Mathura, showing their sovereignity in Mathura. In the year 50 A.D. they extended their power to Taksasila and other states under the leadership of Kujula Kadphises. His successor Kadaphises II was a powerful ruler, also famous as Wema. They constructed many temples and even installed idols at Mathura. Most of the inscriptions of the Kusana 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 Mathura, (New Delhi, D. K. Print world (P) Ltd., 1993), pp. 29. 15 See the detail in the chapter, The tradition of stupa. in Jainism, in this book. 16 Sharma R. C., The Jaina Tirtha Karkali, 1971, pp. 3.

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The Jaina Stupa at Mathura: Art & Icons 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 Pratiharas. The rich merchants and the artistic shrines of Mathura always attracted invaders. During the reign of Kumargupta-I, Mathura became a victim of the Huna tribe. The invader from Gazni attacked the city in the year 1017 A.D. and destroyed many temples in and around Mathura and looted its enormous wealth. Before invading Mathura, the invader inquired about the shrines and habits of the people. While marching towards Mathura, 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 stupa, with its huge dome and high pillars adorned by idols18. He looted Mathura 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 Mathura. (Two bronze idols of the Kusana 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 Mathura as it revived within five years. Jaina idols with dates ranging from 1023 to the 12th century on inscriptions were obtained from the site Kankali Tila. These inscriptions highlight the liveliness and endeavours of the people of Mathura. A few Hindu temples were also constructed after that period. 17 Growse F. S. and Oxon M.A., Mathura; 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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The Place of Mathura in Jainism 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- Daoudi' of Abdullah, a writer in the times of Jahangir: - "He (Lodi) ruined the shrines of Mathura, turned their principal temples into sarayas (dharmasalas) and colleges. Their stone idols were given away to butchers. All Hindus in Mathura were strictly prohibited from shaving their heads and beards and performing their ablutions22". In the reign of the Mughal emperor Akbar, Mathura'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 Mathura. 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, stupas and mutilated idols. The river Yamuna is said to have remained red for seven days, with human blood flowing in its stream. 1.7 The importance of Mathura in Jaina Culture: There are references to Mathura in Anga and Upanga literature. Jnata-dharma-katha refers to the city of Mathura while describing the Svayamvara of Draupadi. Prajnapana-sutra includes Mathura and Surasenadesa in 25 Aryadesa. The city was acceptable to the ascetics for sojourn during rainy season. Sthananga-sutra and Nisitha-sutra counted Mathura as one of the chief capitals in India24. The 22nd Tirthankara, Aristanemi of Yadava dynasty was the cousin of Krsna and Balarama. The Harivamsa-purana (Jaina) narrates many incidents of their life. Many images of Aristanemi, flanked by Balarama and Krsna are obtained from the Jaina stupa site. As per Vividha-tirtha-kalpa, Parsvanatha came to Mathura, saw the golden stupa and advised to cover the same with bricks and sand, to protect it from invaders. Vardhamanasvami also visited the Vrajabhumi. The king Uditodaya (Bhidama), welcomed him, who 23 22 Growse F. S. and Oxon M.A., Mathura; 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 Karkali, 1971, pp. 3.

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The Jaina Stupa at Mathura: Art & Icons 1.8 later took Diksa from him 25. The past history of Mathura is narrated by Jinaprabhasuri in Vividha-tirtha-kalpa in the 13th century. He talked about twelve vanas/forests, one of which was Bhamdira where Yaksa Sudarsana's shrine was situated. Parsvanatha visited this shrine26. This shows that yaksa worship was in vogue in Jainism. Jaina culture at Mathura: Jainism has considered Mathura as a holy city since ancient times. The excavations at Mathura brought to light many symbols that indicate the worship of Jina on Ayagapatas (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 Ayagapata. Symbols such as caitya-tree, srivatsa, stupa, wheel, svastika, a pair of fish etc. were also seen either-on Ayagapata 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 asta pratiharya 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 stupa and shrines. In Jainism, 24 Tirthankaras are worshipped but only one image, depicting 24 Tirthankaras (Covisi) having Rsabhadeva (fig. 11) as the principal (Mulanayaka) was found from Kankali Tila assigned to the 3rd century A.D.27. Here colossal images of Tirthankaras were in vogue, particularly Jina Rsabhadeva (fig. 12). Here four Jinas - Rsabhadeva, Aristanemi, Parsvanatha and Vardhamanasvami are more in number while two images of Munisuvratasvami28 and one each of santinatha and Sambhavanatha 25 Sharma R. C., The Jaina Tirtha Karkali, 1971, pp. 3. 26 Shah U. P. and Ernest Bender, Mathura and Jainism in "Mathura- The cultural Heritage" ed. Doris Meth Srinivasan, (Delhi, AIIS, 1989), 211. 27 Smith V., Jaina Stupa and other Antiqities from Mathura (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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31 The Place of Mathura in Jainism have been found. At Mathura, Neminatha is carved with his cousins, Krsna and Balarama i.e. all three are worshipped together as members of the Yadava family. Such images are found only at Mathura, from the Kusana period till the medieval period. As per the Jaina and Brahmana scriptures, Krsna, with his family of Yadavas, shifted to Dvaraka to avoid war and to live peacefully. Aristanemi's three kalyanakas took place at Girnara near Dvaraka. He preached the tenets of Jainism before Parsvanatha. Besides idols, the skilled artists of Mathura 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 Rsabhadeva 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, Rsabha 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 Mahavira, from Devananda of the Brahamana clan to Trisala of the Ksatriya clan (fig. 14, 15). The operation is carried out by the deity Naigamesa, 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 Naigamesa. The theme is comprehensively depicted by the artist, including both the mothers of Mahavira in a blessing and another woman with a flywhisk. At Mathura, the largest number of epigraphic records in Brahmi are associated with Jaina images, ayagapatas, 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 sakha, the type of sculpture and the place where it was established. Of the 132 Brahmi inscriptions of Kusana and post Kusana period from Mathura mentioned in Luders' list of Brahmi inscriptions, 84 are credited to Jainas, 33 to Bauddhas and 15 do not mention any particular creed.

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32 The Jaina Stupa at Mathura: Art & Icons 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 Ladanun in Rajasthan in the 12th century with the blessings of Guru Anantakirti30. Besides the stupa and other temples at Kankali Tila, a temple at Corasi (fig. 16) was already there, built in the memory of Jambusvami31. 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, Sravaka-Sravikas performing austerities could be judge from a pedestal of Tirthankara Vardhamana, dated, Kusana era 50, obtained from Kankali Tila. It has an inscription that the same was established by a lady. Vijayasri, who fasted for a month (J. 22 LM., fig. 18). The Jaina culture at Mathura is narrated in the Jaina epic 'Yasastilakacampu'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 Vajrakumara for this purpose. Vajrakumara 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 su. 13, shri Mathura Sanghe. Jima..Sri Anantakirti 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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The Place of Mathura in Jainism 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 Jinaprabhasuri's account of Mathura in Vividha-tirtha-kalpa. 33 From the Campu 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 rathayatra failed due to Vajrakumara'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 vacanas. The first vacana took place at Pataliputra in Magadha, 160 years after Mahavira's nirvana, the second one took place at Udaygiri-Khandagiri, 300 years after Mahavira's nirvana, i.e. 2nd century B.C. while the 3rd one at Mathura under the leadership of Arya Skandilacarya, 827 years after the nirvana of Mahavira i.e. in the 3rd century A.D. He had carried out Agama Vacana in the front of Jaina Sangha at Mathura. During Vihara, Arya Raksitasuri stayed at Bhuta-guha-caitya, as pointed out by R. C. Sharma34. vacana period at Mathura. Many seers have referred to Mathura's stupa in their literature till the end of Akbar's rule. During the vacana convention, many Acaryas 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-nisitha-sutra by Jinabhadra Ksamasramana at stupa is available in Vividha-tirtha-kalpa. Here, the Acarya first pleased the deity (Srutadevata) with austerity and meditation. Then, with her blessings, the same was rewritten. This information shows that at the time of vacana at Mathura, some scriptures were written and stored at the stupa. Jina images are also obtained from Cobara Tila, Mahaban, Mukund kuva and other places, besides Kankali and Corasi Tilas. 'Mukund' is the name of the yaksa where the famous Lonasobhika'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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The Jaina Stupa at Mathura: Art & Icons obtained flanked by two Salabhanjikas J63 and J64 MM., (fig. 21, 22). This Ayagapata informs us that she erected a hall for prayer, a reservoir and a shrine (Arhatayana). 1.9 The grandeur of Mathura in Jaina Tradition: In Brahat-kalpa-bhasya, there is a mention of 96 villages around Mathura, where Arhat images were established for ensuring good fortune. Such type of information is also provided by Jinaprabhasuri, that the local people installed Arhat images on the door lintel for protection as stipulated by the deity. The city of Mathura became famous by Kevali Jambusvami who received Kevala-jnana here. His Nirvana took place at Corasi which later on recognised as a Siddhaksetra. At Corasi Tila, the ancient inscribed foot print of Jambusvami (fig. 17) was obtained with other magnificent sculptures such as door lintels, Salabhanjikas, idols, etc. As mentioned in the 17th century Rasa by Devavimalji, that Hirvijayji arrived at Mathura on his way to Agra and adored 527 stupas. Later, in Vikram Samvat 1667 Hirvijayaji's disciple Vivekaharsa-gani established Jambusvami'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 Kankali Tila in December 1889, three images of Svetambara sect were obtained from a shrine close to the central shrine/ stupa. They were established at "Sri Devateti', meaning the place established by deities'. The city was plundered by Gazni in 35 samahaM mathurApuryo yAtrAM pArzvasupArzvayoH / prabhuH parItaH pauraughauzcAraNarSirivAkarot / / 249 / / prabhu hIravijayasUri: mathurApuryAM madhupaghnanagare samahaM sotsavaM cAraNarSividyAjaMghAcAraNAdimuniriva pauraughai nAgarikanikaraiH paritaH parivRtaH saMghena sahitaH pArzvasupArzvayostrayoviMzatitamasaptamajinacaMdra pratimayoryAtrAmakarocca kRtavAn / / jambU prabhavamukhyAnAM munInAmiha sa prbhuH| sasaptaviMzatiM paJcazatI stUpAnpraNemivAn / / 250 / / sa prabhuhIrasUrihaiva mathurAnagaryAM jambUnAmamahAvIradevasya dvitiya paTTadharaH,caramakevalI prabhavanAmA tRtiyaH paTTadharaH, tau mukhyau prakaSTAvAdyau vA yeSAM teSAM muninAmupalakSaNAtsAdhvInAmapi paraM tanmadhyavartinAmeva sahasaptaviMzatyA vartate yA tAdRzIM paJcazatI stUpAn praNemivAnnamati sma / paJcazatI prabhavasvAmisahitA caurasAdhUnAM jaMbUsvAmiyuktAnAmaSTAnAM kanInAM navanAmapi mAtRpitRNAM nava tribhirguNitAH saptaviMzatirjAtaM yathoktamAnaM saptaviMzatyadhikA paJcazatIMstUpAH santIti / / -mathurAyAtrA / / hIrasaubhAgyam / 14 sargaH 729, (Devavimal, HirSaubhagyam Rasa, 14th Sargah, pp. 729).

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The Place of Mathura in Jainism 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 stupa and the shrines before and after the stupa was attacked by Gazni. Many inscribed images of both traditions of the medieval period were also available in and around Mathura after the chief excavations in the 19th century at Kankali Tila. This reveals the flourishing Jaina culture in Mathura region. Most of these images are covered in the recently published 'Catalogue of Jaina Antiquities of Mathura' by Government Museum, Mathura, in 2003. Some of them are described below: i) An Adinatha image (B.21, MM) with Nagari inscription 'Om Pandita Sri Ganavaradevaya'. Such words are also available on the paintings in Ellora caves36. ii) A Parsvanatha image (accn. No.40.2874/2 MM) with Nagari inscription of the year Vikram Samvat 1017, 'Srimula sangha; Sravaka vanika jasaraka bharya soma...' found from Mathura. iii) Samvat 1104 Sri Bhadresvaracarya Gaccha Mahila. (Neminatha B.22, MM) iv) Sri parasanathaya; 11 Lalikamra.. Yah 1.. v) A very archaic image of Ksetrapala 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 Kankali 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 stupas at site of Kankali Tila37. 1.10 Jaina Stupa at Mathura: In the Anga literature of Jainism, the word 'stupa' is not mentioned independently. Instead it comes in such combination as - "caityastupa' ("Caiya-thubha'), 'stupa-maha' ("Thubha-maha') and 'Thubhamva-caiyakadam'38. In Sthananga-sutra, 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 Stupa in Jainism

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36 The Jaina Stupa at Mathura: Art & Icons while describing the Nandisvara-dvipa39. In the Bhagavati-sutra, there is a reference to 'Arihanta-ceiyani' and the Sutra Upasaka-dasanga also mentions an "Arahanta-ceyaim' while Unata-dharma-katha refers to the stupa as a 'thubhia'/stupika40. In Samvayanga and Jambudvipaprajnapti, the word 'thupa' is used as a 'Ceiya-khambha' which later on came to be known as Manastambha41. The practice of erecting Manstambha is still continued with the Digambara tradition. Avasyakaniryukti refers to the erection of stupa/thubha at Astapada- the Nirvana place of Rsabhadeva by his son Bharat Cakravarti. Avasyaka-curni talks about Munisuvratsvami's stupa at Vaisali while illustrating the story of 'Parinamic Buddhi'. These both Jaina stupas are now extinct. The reference of Mathura's stupa is first available in Malayagiri-tika42 of Vyavahara-curni and Vyavahara-sutra. Afterwards in the scriptures of both traditions viz. Brahat-kalpa-bhasya, Yasastilaka-campu, Vividhatirtha-kalpa etc. the stories about Jaina stupa at Mathura are available with plenty of details. Jinaprabhasuri referred to Acarya Bappabhattasuri's visit to Mathura in Vividha-tirtha-kalpa, accordingly Acarya had established Mahavira's image in Vikram Samvata 826 i.e. 769 A.D. At that time he had advised King Ama to repair the stupa43. The king restored it and even prepared a kupa or kunda near the stupa. Suriji also talked about twelve Vanas around the city, one of which was Bhandira - the shrine of Sudarsana Yaksa. As per the kalpa, Bappabhattasuri adored Rsabha at Satrunjaya, Nemi at Giranara, Munisuvrata at Bharuch, Vira at Mondhera, Suparsva at Mathura and was taking his Gocari/food at Gowalgiri (Gwalior). This information suggests the power possessed by Acarya for flying to various Tirthas for adoration. The Ayagapata of Lonasobhika (fig. 41) of early Kusana era has a carving of two Jaina monks, adoring the stupa from the sky. One of the pedestal of Munisuvrata (J 20 LM., fig. 24) obtained from the stupa has an inscription that the same was 39 See the fn. 14 in chapter of this book 'The Tradition of Stupa in Jainism' 40 Jain S., Jain Vidya ke Ayam - Hindi (Banaras, Parsvanatha Sodha Sanasthan, 1998) pp. 716. 41 Ibid 42 See the fn. 34 in chapter of this book The Tradition of Stupa. 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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The Place of Mathura in Jainism 37 established at 'Devanirmita Stupa' in Kusana 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 Jinaprabhasuri based on ancient data that this stupa was the oldest known building structure in India. He noted, "The sanctuary was restored in honour of Parsvanatha by Bappabhattasuri, 1300 years after Mahavira had reached perfection. Assuming the ordinary received date B.C. 527, for Mahavira's Nirvana, the restoration of the stupa may be dated about 1300 years later, or A.D. 750. Its original erection in brick in the time of Parsvanatha, the predecessor of Mahavira, 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 stupa of which Dr. Fuhrer exposed the foundations is the oldest known building in India45". In the year 1836 A.D., some ancient sculptures of Gandhara 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 Mathura while constructing a building. Finding of such sculptures put the archaeologists in surprise so they carried out excavations on such mounds like Cobara, Laksmana Tila, Jamalpura gadhi, katra, Corasi, etc., Kankali Tila was one of them. The inscriptions of some of the artefacts reveal that from 2nd century B.C. some Jaina shrines existed at Mathura. The representation of stupa on sculptures is available in two ways, either as a chief theme or as a symbol on Ayagapata. Lonasobhika and Sivayasa's Ayagapatas have a depiction of stupa as a main theme, adored by celestials. The symbolic representation of the stupa is available on the sides of Ayagapatas, toranas or on door lintel also. On the Ayagapata of Kanha, it is carved between four Jinas in upper register while the lower contains a deity named Vidya, a Jaina monk-Kanha, a lady ascetic and other devotees. Here a stupa 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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38 The Jaina Stupa at Mathura: Art & Icons the linguistic and palaeographic ground, Ayagapatas 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 Kankali mound (Jaini Tila), Mathura, revealed the fact that the Jaina stupa did exist and was adored by the Caturvidha Sangha. Here, pedestals of many images have depiction of the same i.e. Sadhu, Sadhvi, Sravaka and Sravika with Dharma-cakra in the centre. Great importance is given to seers as they carry traditions through ages. Jainas' Ardhamagadhi and Saurseni literature (Agamas) were carried forward by reciting tradition from Acaryas 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, Agamas were revised and memorised by monks, in councils held for the same purpose known as Vacana47. Five Agama vacanas held at Pataliputra, Kumari hill, (as per the inscription of King Kharvel) Valabhipura, Mathura, and again at Valabhipura at different intervals. The third and fourth vacanas were contemporary. Kankali 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 Tila - 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 'Vacana 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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39 The Place of Mathura in Jainism The first Director General of ASI General Cunningham excavated the western end of the Tila 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 Kankali Tila 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 'Jaini Tila' 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 Jaini Tila site, Kankali 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 stupa constructed by a deity' and its reference in Vividha-tiirth-kalp searched by Bulhar. A 'Plan' of excavation at Kankali Tila 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 (Svetambara 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 Thupa' on J 20 LM. dated 49 or 79 Kusana year.

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40 The Jaina Stupa at Mathura: Art & Icons The exploration detail as noted by Fuhrer to Bulhar, that to the west of stupa i.e. in the centre of the site, there were remains of a Svetambara 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 Kankali Tila 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 Parsvanatha, the golden stupa was encased with bricks and afterwards a stone temple was built on the same. Tirthankara Parsvanatha 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 Kusana 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 Salabhanjikas, 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 Mahabana. 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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The Place of Mathura in Jainism 41 1.11 The Elucidation of Jaina Tradition through 'Deva Nirmita Stupa': To comprehend the history of Jainism many excavated artefacts and inscriptions from Mathura's stupa 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, Mathura Sangha, Gaccha, etc. are available on inscriptions. Here Jaina's ideals like austerity, detachment, Rathayatra, the Salabhanjikas with offerings, etc. have been chiselled on sculptures marvellously. The inscribed ascetic order kula, gana and sakha have their roots in Kalpasutra, Nardisutra and other Theravalis. Kotika gana and Veri sakha still continue with Svetambara tradition. The compilation of Jaina literature at Mathura must took place at Deva nirmita stupa, as referred in Vividha-tirtha-kalpa. Acarya Ksamasramana adored Srutadevi Sarasvati at this stupa. Here, the world's most ancient image of Sarasvati with the inscription of establishment in Kusana period holding folded Manuscript was brought to light. The Sarvatobhadra images of Kusana period are the unique product of Mathura art school. The findings of inscribed Jaina images of early and late Kusana 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 Mahaviira. 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 Niganthas or Nirgranthas or Jainas existed before Gautam Buddha - the founder of Buddhism. One of the participants, Herman Jacobi, proved from Pali literature that Jainism did not arise from Buddhism and the 23rd Tirthankara Parsvanatha lived before Buddha. Other participants, Mr. Lassen and Mr. Barth, doubted the authenticity of Jainism before Mahavira, as it was fixed mostly from Svetambara 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 Kankali Tila. Buhler wanted to clear Barth's doubts, so he asked James Burgess to resume the excavation at Kankali Tila, 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 Ksatrapa to Gupta period including :i) A relief presenting stupa worship by Kinnaras and Suparnas (fig. 19, 20) ii) An image of Rsabha surrounded by 23 Tirthankaras (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 Kankali Tila, Mathura, 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 Kankali Tila brought to light many Jaina remnants with Brahmi inscriptions of Kusana era. Thus, to prove Jaina antiquity from remote time, the Kankali Tila - the oldest Jaina stupa 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 Tirthankara 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 Ujhatika, Okarika seem to be from outside of India. Here, female were more in numbers than male in a Sangha. This stupa was 'Deva Nirmita Vodva Stupa' as per records of donation of the year 49 of Kusana era engraved on the pedestal of Munisuvrata (or Arhata Nandyavarta)

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The Place of Mathura 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 Kusana to medieval period, inscribed images of Tirthankaras 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 Kusana period are obtained from the site. Seeing the images of different religions at Kankali Tila, it seems that Mathura 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 Brahmi 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 Hathiguha's cave inscription, which commence with adoration to Arihanta and Siddha. Even the Ayagapatas 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 Mathuri Vacana, many words of this form of Prakrit appeared57. The Mathura artists have chiselled the Jaina images of Rsabhadeva Aristanemi, Parsvanatha and Mahavirasvami 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 Svetambera Sadhu wears today and holding a small piece of cloth to cover inner parts. Here, lady ascetics are shown in sari. All SadhuSadhvis carry Pratilekhana, which is a must for sramana 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 Svetambara tradition. The inscribed images of medieval period of both traditions reveal that besides stupa, many Jaina shrines existed at the site. 57 Jain S., 1998 op. cit. pp. 22-23.

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The Jaina Stupa at Mathura: Art & Icons 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, Ihamrga, winged lions, vine creepers etc. travelled to India via Gandhara and are seen on the torana 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 Ayagapattas for veneration. These suggest Arihanta is carved in the centre surrounded by three jewels or svastika or dharmacakra on an Ayagapatta. 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 Kusana, 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 Mathura School which is very much helpful in knowing the process of development in image making. The iconography of deities from Kusana era to medieval period shows their gradual development. The deities Sarsvati (fig. 32), Aryavati (fig. 33), the counterpart of Naigamesa (fig. 34), Laksmi (fig. 35) and Ksetrapal (fig. 23) were shown with two hands in Kusana period. Later on the images of Ambica (fig. 36), Cakresvari (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. Naigamesa, his counterpart, Aryavati, and Sarsvati made their first appearance at Mathura. Here the Srivatsa 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 Srivatsa 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 Mathura in Jainism Ancient works like Avasyaka-niryukti60, Avasyaka-curni6l etc. refer to the practice of erecting stupas over the ashes of Jinas; accordingly stupas were erected at Astapada, Vaisali, and Mathura. 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 stupa in 14th century literary work Vividha-tirtha-kalpa/Rajaprasada of Jinaprabhasuri, 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 Salabhanjikas carved on rail posts of stupa is noticed in Raypasenium-sutta by Prof. V.S.Agrawal62. The inscription obtained on the pedestal of an image no. J 20 LM. recorded the year 79 of the kusana era with the words "Danam pratima vodva thupe devanirmite pra.." shows its antiquity. Jinaprabhasuri has also mentioned in this kalpa that the golden stupa was erected by deity Kubera, and that she protected and covered the same with bricks on the advice of Lord Parsvanatha, 23rd Tirthnkara. Deity even asked Jain Sangha to establish a Parsvanatha idol in a newly built temple outside the stupa for protection. In the Kalpa other historical narratives of Mathura are given in detail including Bappabhattasuri's renovation advice in the year 769 A.D.63 with the establishment of Mahavira's image. From literary and archaeological references, V.A. Smith assumed, that the stupa was erected in the time of Parsvanatha i.e. not later than B. C. 600, so it is the oldest building structure available in India at that time. Thus Jaina stupa excavated at Kankali mound by archaeologists provide fine history of Jainism. 60 See the fn. 28 of the chapter 'The Tradition of Stupa..' 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 Stupa.' in this book.

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2 The Tradition of Stupa in Jainism A structure constructed at a funeral place in memory of holy personalities is known as caitya. Both Svetambara and Digambara sects have references of the adoration of stupa, stupa-maha, caiya/caitya, caiya-khambha and caiyavrksa in their literature. Their adoration in symbolic forms is seen on many Ayagapattas. 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 Stupa in Various Scriptures: In Yajnavalkya-smrti? the same word (caitya) is applied to a sacred place (punya-sthana) situated in the crematorium. Ancient Jaina Agamas also refer to the caitya as a memorial constructed at a funeral place (citasthala). Sometimes, when a tree is planted at such a memorial, it is called caitya-vrksa, and caitya-stupa if the memorial is dome shaped. In Vacaspatyam4, the word caitya occurs for a dome shaped yaksayatana. 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 stupa 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 setuvalmIkanimnAsthicaityAdyairupalakSitAm / / 151 / / caityazmazAnasImAsu puNyasthAne suraalye| jAtadrumANAM dviguNo damo vRkSe ca vizrute / / 228 / / - yAjJavalkyasmRti, vyavahArAdhyAya / 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 Stupa in Jainism In Ramayana', there are some verses mentioning caityas and yupas When Rama went to Dandakaranya via Kosala, he found the whole country was adorned with caityas and yupas. As noted by Shah U. P. here the term caitya is used in a wider application like caitya-prasadas, caitya-vsksas etc. In Mahabharata?, there is a mention of a region made sacred with hundreds of caityas and yupas. At another place the epic refers in glowing term to the country full of caityas and yupas where caityas are supposed to refer to places of sacred yajnas but may refer to shrines and stupas also, as referred by Shah U. P.8 In Arthasastra, Kautilya refers to caityas in several contexts. He states that people offered puja 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 cuda (hair) was worshipped by Trayastrimsa gods who erected a caitya in its honour. As referred to Digha-nikaya, Buddha once lived at the Ananda -cetiya in Bhojanagarall. 5 1) JEREHAT GHIGH STAICI __ akutazcidbhayAnamyAzcaiityayUpasamAvRtAn / / Ramayana - II 50, 8 devAyatanacaityeSu sAnnabhakSyAH sadakSiNAH / Ramayana - 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 babhUva ramaNIyazca caityayUpazatAGkitaH / / Mahabharata, I. 109.13. yatra yUpA maNimayAzcaityAzcApi hirnnmyaaH| Mahabharata, II. 3.12 II) Shah U. P., Studies in Jaina..., 1955, pp. 45. 8 Ibid. 9 1) 31SHTIEC SINH GUshefa (III. 18) or dari trinqueperf as ar Tage yAtrAsamAjAbhyAmajIvet (V. 2) or evaM gRhItadurgo vA prAzyaprAzaM caityamupasthApya daivatapratimAchidraM pravizyAsIt (XII.5) caityadaivatadvArarakSAsthAneSu ca satriNaH samayakarmanikSepaM hiraNyAbhijJAnamudrANi hiraNyabhAjanAni prarupayeyuH (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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The Jaina Stupa at Mathura: Art & Icons He had visited caityas such as Udena, Gotama, Sattambaka, etc. 12 According to the inscription of Kharavela (fig. 38) at Hathigumpha (Udayagiri-Khandagiri), image worship was in vogue since the Nanda times. It also mentions the repairing of Kayanisidhi (stupa)13, a place of adoration at Kumari (Khandagiri) hill. Thus caitya worship can be traced back earlier to Nanda period. Later on, stupas or caityas were erected on the bones or ashes of great men. These also led to the construction of caityas and stupas for adoration in the form of shrines when the art of image making came into existence. 2.2 The Concept of Caitya and Stupa in Jaina Literature The word thubha/stupa does not occur independently in Acaranga-sutra (c: 2nd to 3rd B.C.) but in union with 'Kadam', i.e. "Thubham-vaCeiyakadam' and 'Rukkham-va-Ceiyakadam'. The earliest reference of stupa and stupa-maha is available in the 3rd and 4th adhyayanas of the second Srutaskandha (Ayaracula) in Acaranga-sutral4 in combination with 'caiya/caitya' i.e. caitya-krta-stupa. The same sutrals refers to the festivals in honour of 'Ceiya/Caiya-mahesu' along with those of Indra, Rudra, Mukunda, Bhata, 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: (12)........ magadhAnaM ca vipulaM bhayaM janeto hathisu gaMgAya pAyayati(I) mAgadhaM ca rAjAnaM vahasatimitaM pAde vaMdApati(I) naMdArAjanItaM ca kAliMga - jina-saMnivesaM......... gaharatanAna paDihArehi aMgamAgadha-vasuM ca neyAti (I) (15)........ (tA) su kataM samaNa-suvihitAnaM (muM?) ca sAtadisAnaM (muM?) JAtAnaM tapasaisinaM sadhAyanaM (D?) (3) arahatanisIdiyA samIpe pabhAre varAkara-samuthApitAhi aneka- yojanA-hitAhi........ silAhi siMhapatha-rAjiye ghusiya nisayAni 14 (a) se bhikkhU vA bhikkhuNI vA gAmANugAma duijjamANa............. rukkhaM vA ceiyakaDa', thUbhaM vA ceiya kaDaM....... No........ NijjhAejjA / / Acaraiga-sutra (2nd Sruta-skandha - Ayarcula), 3/47. (b) se bhikkhU vA bhikkhaNI vA jahA vegaiyAI ruvAI....... rukkhaM vA ceiya-kaDaM......... No....... sukaDe ti vA, suThukaDe ti vA, sAhukaDe ti vA, kallANe ti vaa| Ibid. 4/21 (c) se bhikkhU vA bhikkhuNI vA............ thUbha-mahesu vA, cetiya-mahesu vA.......... tahappagAraM asaNaM va pANaM vA.......... No paDigAhajjA / Ibid. 1/24 15 I) Acaraiga-sutra: 2. I. I. 2, 328, II) Shah U. P., Studies in Jaina..., 1955,. pp. 48-49. 16 Ibid.

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The Tradition of Stupa in Jainism 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 "Thubham va Caiyakadam' as "The stupa 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 stupa constructed to honour a specific personality, using some of his remains after his nirvana. Thus rukkham va 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 Acaranga sutra, the word thupa/stupa is mentioned in Sthananga and Prasna-vyakarana sutras. 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, yajna-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-sutra and Sthananga-sutra20, a wide description of the caitya-stupa is given while talking to Nandisvara-dvipa. 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 tesi NaM aMjaNagapavvayANaM uvariM bahusamaramaNijjA bhUmibhAgA paNNattA / tesi NaM bahusamaramaNijjANaM bhUmi - bhAgANaM bahumajjhadesabhAge cattAri siddhAyataNA paNNattA tesi NaM dArANaM purao cattAri muhamaMDavA paNNattA / tesi NaM muhamaMDavANaM purao cattAri pecchAgharamaMDavA paNNattA / tesi NaM pecchAgharamaMDavANaM purao cattAri maNipeDhiyAo paNNattAo / tesi NaM maNipeDhiyANaM uvariM cattAri - cattAri ceiyathUbhA paNNattA / tesi NaM ceiyathUbhANaM uvariM cattAri maNipeDhiyAo paNNattAo / tAsi NaM maNipeDhiyANaM uvariM cattAri jiNapaDimAo savvarayaNAmaIo saMpaliyaMkaNisaNNAo thUbhAbhimuhAo ciTThati, taM jahA-risabhA, vaddhamANA, caMdANaNA, vAriseNA / - sthANAMga, 4 / 339 /

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50 The Jaina Stupa at Mathura: Art & Icons According to Bhagavati-sutra, certain monks fly to Nandisvara-dvipa with the help of their super natural power to adore Jinas in the shrines21 In Sthananga-sutra following description of cetiya stupa is available while referring to Nandisvara-dvipa - "There are four Anjana hills, in four directions, from the centre of the dvipa. 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 Siddhayatana (Jaina shrine) having four entrances in every direction opening to a mukha-mandapa. Each mukha-mandapa has a ranga-mandapa/preksagrha in its front. In front of each ranga-mandapa there is a manipithika having a caitya stupa. Every caitya stupa has a manipithika each in four directions and on these Manipithikas there are four Jina pratimas. They are made of jewels and are in the padmasana. Again, these caitya stupas have caitya-veksas at their entrances with mahendra-dhvajas having puskarani and vanakhanda in their front. These shrines are called sasvatajina ayatanas/siddhayatanas." The above mentioned Sthanarga-sutra is a text, having information about important incidents up to the 4th century A.D. From the above description, one feels that before Sthananga and other sutras were codified, such beautiful Sarvatobhadra shrines and stupas were already existing with images within. Buddhist tradition also has four such Buddha images on stupas. The scripture Samavayanga sutra22 referes to ceitya-stambha instead of ceitya-stupa, so it seems that caitya-stambha might be the form of stupa converted into manastambha later on. In Adipurana23, a reference to manastambha is available. The practice of erecting manastambha in front of the shrine still continues in the Digambara tradition. Bhagavati sutra24, Upasaka-dasanga-sutra and Jnata-dharmakatha do not have clear references to caitya stupa, but have information about 21 Shah U. P., Studies in Jaina... 1955, pp. 52 22 sohamme kappe suhammAe sabhAe mANavae ceiyakhaMbhe heTThA uvariM ca addhaterasa-addhaterasa joyaNANi vajjettA majjhe paNatIsa joyaNesu vairAmaesu golavaTTasamuggaesu jiNa-sakahAo pnnnnttaao| - 449 , 34/41 23 HH*T9TEI TSHf467464 prekSamANo vyatIyAya stUpAMzcArcitapUjitAn / - tify m, 89/201 24 NaNattha arihaMsa vA arihaMta ceiyANi vA aNagAre vA bhAviyappaNo NIsAe urdU uppayati jAva sohammo kppo| - par 2, 3/21

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The Tradition of Stupa in Jainism Arihanta-caitya and thubha or sibika. The Upanga literature like Jivajivabhigama 25, Jambudvipa Prajnapti 26, etc. also talk about the stupa at many places. 51 In Rayapaseniyam suttam27, the description of devavimana of Suryabhadeva is classic, informative and noteworthy. It describes many art motifs, similar to those obtained from stupa sites at Mathura, such as torana, door lintel, salabhanjikas, life incidents of Jinas, auspicious symbols, etc. Besides, Anga and Upanga literature, the explanatory texts like Avasyakaniryukti, Avasyaka-curni, Vyavahara- curni as well as the commentaries (tikas) of Acaranga sutra and Sthananga sutra mention the stupa, caityastupa and stupa-maha, while describing the various legends. The stupa at Astapada, the place where Rsabha attained nirvana, was established by his son Bharata Cakravartin as per Avasyaka-nirukti28. It was named as Sinhanisadhyayatana, 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 (lohamanava-yantrapurusah) as gatekeepers to guard the area. This was commented upon by Haribhadrasuri in Avasyaka-vritti (pp. 169 ). As per the legend, the first ganadhara of Mahavira Gautamasvami arrived here with 500 recluses to adore Jinas with the power generated by sun beams. Another stupa was mentioned as existing in Vesali Nagara (Vaisali), erected in the memory of the 20th Tirthankara, Munisuvrata Svami as described in Avasyaka-curni29, while illustrating the thubha 25 taheva mahiMdajjhayA cetiyarukkho cetiyathUbhe, paccatthimillA maNipeDhiyA jiNapaDimA / jIvAbhigama, 3/2/142 / 26 ..... khippAmeva bho devANuppiA titthagaraciigaM jAvaaNagAraciigaM ca khIrodageNaM NivvAveha, tae NaM te mehakumArA devA titthagaraciigaM jAva NivvAveMti, tae NaM se sakke deviMde devarAyA bhagavao - titthagarassa uvarillaM dAhiNaM sakahaM geNhai ....tae NaM se sakke vayAsI savvarayaNAmae mahaimahAlae tao ce abhe kareha | jambUdvIpaprajJapti, 2 / 33 / 27 'Rayapaseniya', see the chapter 5 in this book. 28 nivvANaM ciigAI jiNassa ikkhAga sesayANaM ca / - sakahA thUbha jiNahare jAyaga teNAhiaggitti / / Avazyaka niryukti, 45 / 29 taraNaM se sakke bahave bhavaNapati jAva vemaNiyA evaM vayAsIkhippAmeva bho tao ceia - thUbhe kareha / Avazyaka cUrNi, RSabhanirvANa, prakaraNa, pR. 223 /

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The Jaina Stupa at Mathura: Art & Icons story regarding the Parinamika Buddhi30. This shows that the author of curni was familiar with the above stupa of Munisuvrata Svami. As per the opinion of the present Acarya Yugbhusada Vijayji, this stupa was destroyed by King Kunika (Ajatasatru) while attacking the city. The text Antagada-dasao refers to Mudgalapani-yaksa shrine at Rajagrha. The ceityas- Purnabhadra (outskirt of Campa city), Amara-salavana (at Amalakappa city) etc. are the shrines of deities of the vyantara class known as Jakkhayatana31 According to Aupapatika-sutra, Purnabhadra caitya was very ancient32 (purana or ciratita), even Mahavira 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 Abhaydevasuri mentioned that one has to adore the Jinas and deities for auspicious happenings i.e. to spread mangala and kalyana. "Kallanam mangalam "devayam ceiyam vinaenam pajjuvasanijjo." The Stupa at Mathura: Many ascetics like Acarya Bappabhattasuri, Jinabhadra Ksamasramana, Haribhadra (7th A.D.), Harisena (932 A.D.), Somdeva (10th A.D.), Sangamasuri (11th A.D.), Jinaprabhasuri (14th A.D.) visited this sacred stupa 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 vesAlie NagarIe NagaraNAbhIe muNisuvvaya sAmissa thUbho / - AvazyakacUrNi (pAriNAmika buddhi prakaraNa) pR. 537 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 (sutra 3.1), Rayapaseniyam (pp. 39), Bhagavati (2.1, sutra. 91), Aupapatika (sutra. 27), etc.

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The Tradition of Stupa in Jainism In the Malayagiri-tika of Vyavahara-curni34 and Vyavahara-sutra, there is a katha of construction of Deva nirmita stupa. Accordingly, once a Jaina monk was performing severe austerity at Mathura, 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 stupa, in a single night. The scripture Nisitha-curni talks about the devanirmita stupa at Mathura"Uttaravahe Dhammacakkam, Mahurae Devanimiya thubho...." (Nisitha-curni, III, 79). Somadevasuri narrates Jaina stupa at Mathura, as 'devanirmita' in Yasastilaka campu (10th A.D.). Sangamasuri composed a prayer to adore Mula-nayaka Suparsvanatha at 'devanirmita Thubhe' at Mathura in 11-12th century35 as described in Tirthamala. The 13th century work, Prabhavaka-caritra, presents the stupa at Mathura, with its chief idol Suparsvanatha- Sri Suparava Jina stupe namat'. In 'Sarvadeva Caitya Paripati', Jinaprabhasuri describes Mathura's stupa as studded with jewels36. A manuscript found at Patan's Grantha-Bhandara narrates that Mathura's great stupa was established by a deity with the image of Sri Parsvanatha 34 mathurAyAM nagaryAM ko'pi kSapaka AtApayati, yasyAtApanAM dRSTvA devatA AdRtA tamAgatya vanditvA brUte, yanmayA kartavyaM tanmamAjJApayedbhavAniti / evamukte sA kSapakeNa bhaNyate, kiM mama kAryamasaMyatyA bhaviSyati, tatastasyA devatAyA aprItikamabhUt / aprItivatyA ca tayoktamavazyaM tava mayA kAryaM bhaviSyati, tato devatAyA sarvaratnamayaH stUpo nirmitaH, tatra bhikSavo raktapaTA upasthitAH ayamasmadIyaH stUpaH, taiH samaM saGghasya SaNmAsAn vivAdo jAtaH, tataH saGgho brUte-ko nAmAtrArthe zaktaH, kenApi kathitaM yathAmukaH kSapakaH, tataH saGkena sa bhaNyate-kSapaka! kAyotsargeNa devatAmAkampaya, tataH kSapakasya kAyotsargakaraNaM devatAyA Akampanam sA AgatA brUte-saMdizata kiM karomi, kSapakeNa bhaNitA-tathA kurUta yathA saGghasya jayo bhavati, tato devatAyA kSapakasya khiMsanA kRtA, yathA etanmayA asaMyatyA api kArya jAtaM evaM khiMsitvA sA brUte-yUyaM rAjJaH samIpaM gatvA brUta, yadi raktapaTAnAM stUpaH tataH kalye patAkA dRzyatAM, athAsmAkaM tahiM zuklA patAkA, rAjA pratipannamevaM bhavatu, tato rAjJA pratyayikarapuruSaiH stUpo rakSApitaH rAtrau devatAyA zuklA patAkA kRtA, prabhAte dRSTA stUpe zuklA patAkA, jitaM sngghn| - - vyavahAracUrNi, malayagiri TIkA-paJcama uddezaka, pR. 8 / 35 // Mathurapuri Pratisthitah Suparsva Jina Kala Sambhavo Jayati / adyapi Suramyacayarya Sridevi Vinirmita Stupah //8// -Sangamsuri, Tirthamala. 36 Jinaprabhasuri of Agamagaccha.

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The Jaina Stupa at Mathura: Art & Icons // "Sri Pasanahasahium rammam Sirinimmayam Mahathubham, kalikale vi suyittham Mahuranayariu(e) vandami."37 // One pedestal of an image has been obtained from the site, bearing an inscription that the same was established at "Vodve thupe deva nirmita' in Kusana 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 Ayagapattas comprise carvings of stupas along with Jinas, ascetics and devotees. Thus it seems that it was the same stupa adored by Jainas since years. Jinaprabhasuri's account on the Stupa at Mathura: 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. Jinaprabhasuri visited sacred tirthas and narrated their condition in Vividha-tirtha-kalpa (V.T.kalpa). In the history of Jainism there were two Acaryas named Jinaprabhasuri living between 13th and 14th century. The first Jinaprabhasuri of Agama 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 Patana's Granthabhandara while the second Jinaprabhasuri, the disciple of Jinasimhasuri 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 'Katantra Vyakarana' in the year 1352 of the Vikrama era at the age of 25. Acarya Somdharmagaoi mentioned Suriji's magical power in prabandha - 'Upadesa Saptati' by which he impressed the Sultan. He renovated the Mathura shrine as per the available information from Nabhinandanoddhara-prabandha'. At his time Delhi was governed by Sultan Hammira Mohammad Tagalakha. The work on this kalpa began with the journey to the sacred Tirtha Satrunjaya, on Friday in 37 1) Descriptive Catalogue of MSS in Jaina Bhandaras, Patan, G.O.S. 73, (Baroda, 1937), 56. II) Jain S., Aspects of Jainology, Vo. 2, 1998, pp. 709.

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The Tradition of Stupa in Jainism the month of Maha 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 Suriji also named this kalpa as "Rajaprasada". He completed the same in the year 1389 Bhadrapada Krsna-paksa Dasami at Delhi. It provides the account of Satrunjaya, Giranara, Khambata, Ahicchatra, Abu, Mathura, Bharuca, Vaibhargiri, Kausambi, Kalikunda, Kannanura, Nasika, Pratisthanapur, etc. 38 Jaina Tirthas visited by him with other disciples. It is noted in Rajendra Kosa (part-3 on pages 212-215) published in early 20th century at Ratlam, authored by Acarya Rajendrasuri. It is also published by Simghi Jain Series as No. 10 in 1934. Jinaprabhasuri begins the 9th chapter 'Mathurapuri Kalpa' in Vividhatirtha -kalpa with the adoration of the seventh Jina Suparsvanatha and 23rd Parsvanatha for performing mangala to all jivas38. Here he prayed to the above two Jinas, so it seems that, there might be more than one shrine where above Jinas were Mulanayakas. The author narrates the legend behind the establishment of the stupa, very much similar to Vyavahara-curni but with a little difference. Accordingly, in the period of the seventh Jina Suparsva, two Jaina monks Dhammaruci and Dhammaghosa, visited the city of Mathura, and stayed in the park named Bhua-Ramana39. At that time the city of Mathura was twelve yojana long and nine yojana wide. The river Yamuna flowed right next to the city. Jinaprabhasuri 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 Brahmanas were exercising four sorts of vidyas by various means. The Bhuta-ramana park was looking very pleasant with plenty of trees, flowers, fruits and creepers. The presiding deity, Kubera 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 bhaviyajaNamaMgalakaraM maharAkappaM pavakkhAmi / / 1 / / - V. T. Kalp., pp. 17 39 titthe supAsanAhassa vaTTamANaMmi dunni muNisIhA / dhammarui - dhammaghosA nAmeNaM Asi nissaMgA / / 2 / / tattha te muNivarA...bhUaramaNAbhihANe uvavaNe uggahaM aNuNNa- via ThiA vAsArattaM caumAsaM kaovavAsA / - ibid.

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56 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- . "Sahu bhananti-Amhehim Agama balenam ceva meru dittho." (V.T. Kalpa, pp.17) Jinaprabhasuri further noted that the deity got disturbed with this answer but as she really wanted to favour Jaina Sangha, she constructed a stupa for veneration, having images of jewels similar to MeruDevie bhaniam-"jai evam ta padimahiam sohiam Meruagaram kaui davemi / The katha further continues, to describe the stupa- Then she made a stupa of gold studded with jewels, adorned with toranas, gateways, banners, three vestibules for pradaksina, having an umbrella40 at the top41. Devas, sadhus and laymen were coming for veneration. Later on a controversy arose between three main-faiths regarding this wonderful stupa, 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 kalasas. (The sprinkling of pious material is called abhiseka). After abhiseka, flowers, garlands, clothes, incense were offered to Jinas. The splendid stupa remained open until the 23rd Tirthankara Parsvanatha 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 Parsvanatha for protection. The deity even made it a norm, that whoever becomes a king at Mathura, must establish a Jina Pratima, 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 tao tIe devIe kaMcaNaghaDio rayaNaciMcaIo aNegasuraparivario toraNajhayamAlAlaMkio siharovarichattattayasAlI rattiM thUbho nimmAvio mehlaatigmNddio| ikkikkAe mehalAe cAuddisaM paMcavaNNarayaNamayAiM biMbAiM / tattha mUlapaDimA sirisupAsasAmiNo pitttthaaviaa| . - V. T. Kalp, pp. 17 41 siharovarichattattayasAlI rattiM thUbho nimmAvio mehlaatigmNddio| ikkikkAe mehalAe cAuddisaM paMcavaNNarayaNamayAiM biNbaaiN| - ibid. 42 tao egArasIe duddha-dahi-ghaya-kuMkuma-caMdaNAIhiM kalasasahassehiM saDDhA nhAviMsu / pacchannaThiA surA nhAviMti / ajjavi tahe va jattAe, aarviti| kameNa savvehiM nhavaNe kae puphpha-dhUva-vattha-mahAdhaya-AharaNAI AroviMti / - ibid. pp. 18

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The Tradition of Stupa in Jainism Besides the myth, the author has given a lot of information related to Mathura, stating the word 'Itthe' (here) as follows1) The city is the birth place of the future Tirthankara Kanha Vasudeva43. 2) Here, Mahavirasvami's previous birth as Visabhuti, with unlimited strength is connected44. The same account has appeared in Uttar purana of Gunabhadra. 3) Here, there are four Jaina shrines viz. Acarya Mangu, Yaksa Bhuta, Hundiya Yaksa, and the stupas. 4) The five sthalas/places around Mathura are Akkasthala, Virasthala, Paumasthala, Kusasthala and Mahasthala46. 5) The twelve forests (vanas) are Lohajunghavana, Madhuvana, Bilvavana, Talavana, Kumudavana, Vrindavana, Bhandiravana, Khadiravana, Kamikavana, Kolavana, Bakulavana and Mahavana47. 6) The five laukika-tirthas (sacred places) mentioned in the kalpa are Visranti, Asikunda, Vaikuntha, Kalinjara and Cakratirtha48. A reference of Cakratirtha is available in Ogha-niryukti by Acarya Bhadrabahu svami as //Cakke thubhe stupo Mathurayam//' Most of the names of sthalas, tirthas and vanas are still recognizable like Vrndavana, Madhuvana, Mahavana, Vaikuntha-tirtha, etc. They are available in Hindu Puranas and Agamas too. 7) Jinaprabhasuri refers Acarya Bappabhattasuri's visit to Mathura, where he had established Mahaviia's image in Vikrama era 826 i.e. 769 A.D. At that time, Acarya had advised King Ama to repair the stupa49. The king restored the same, and prepared a kupa or kunda near the stupa. A kupa unearthed close to the site of the stupa in excavation in 1987 A.D.50 might be the same. 43 ittha nayarIe kaNhavAsudevassa bhAvititthaMkarassa jmmo| - 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 ittha paMca thalAI / taM jahA-akkathalaM vIrathalaM paumatthalaM kusatthalaM mahAthalaM / - ibid. 47 576T-cevi qui nequi...... HENU 1 -ibid. 48 taM jahA-vissaMtiatitthaM asikuMDatitthaM vekuMtatitthaM kAliMjaratitthaM cakkatitthaM / - ibid., pp. 19 49 ....teNa AmarAyasevia kamakamaleNa siribappahaTTisUriNA aTThayasayachavvIse (826) vikkamasaMvacchare sirivIrabiMbaM mahurAe tthaaviaN| tao bappahaTTivayaNAo AmarAeNa uvari silAkalAvaciaM kaariaN| -V. T. Kalp. pp.19. 50 U. P. Shah & Earnest B., "Mathura & Jainism", 1989, op. cit., pp. 209-10.

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58 The Jaina Stupa at Mathura: Art & Icons In the kalpa, the author has described the power possessed by A. Bappabhattasuri. Accordingly, he adored Rsabha at Satrunjaya, Nemi at Giranara, Munisuvrata at Bharuca, Vira at Mondhera, Suparsva at Mathura and used to take his Gocari/food at Govalgiri (Gwaliyara). Moreover, King Ama was his devoteesi 8) Here, the deity Sakra, went to Bhutagpha for the explanation of the 'Nigoda', to Arya Raksitasuri and satisfied. Here Vatsapusyamitra, Ghayapusyamitra and Durbalipusyamitra having vast knowledge and Labdhis (Vidya) visited the city. 9) He describes the katha of learned Acarya Mangu that his greed for food resulted in his rebirth as a Yaksa (Jakha). 10) He also narrates Jinadasa Sravaka's two bullocks Kambala and Sambala who observed austerity along with him52. 11) He mentions the Agama Vacana at Mathura - convened under the leadership of Acarya Skandila by Jaina Sangha, after the 12-year draught. This Vacana came to be known as 'Mathuri Vacana' and recognised by Yapaniya tradition. 12) The author adds further, that 'Deva nirmita' stupa was adored by the Ksamasramana Jinabhadra, who obtained the deteriorated manuscript of Mahanisitha sutra, damaged by termites and repaired the lost portion with the deity's blessings53. 13) Here Naravahana Kubera, Simhavahana Ambika and Svanvahana ksetrapala protect the Tirtha. The author further informs us in last chapter that the given information is gathered by seeing or listening about this Tirthaksetras//Kincita drastva, kincita srutvall - V. T. Kalp. 2.5 The period of Mathura's Stupa: It is little difficult to judge the period of construction of Mathura's stupa, as its antiquity is not remembered, except that it was set up by 51 sittuMje risahaM, girinAre nemiM, bharuacche muNisuvvayaM, moDherae vIraM, mahurAe supAsa-pAse namittA soraTe DhuMDhaNa viharittA govAlagiriMmi jo bhuMjei / - V. T. Kalp. pp. 19. 52 ittha kaMbala-saMbalanAmANo vasahapoA jiNadAsasaMsaggIe paDibuddhA nAgakumArA hoUNa vIravarassa bhagavao nAvArUDhassa uvassaggaM nivaariNsu|| - Ibid. 53 ittha devanimmiathUbhe pakkhakkhamaNeNa devayaM ArAhittA jiNabhaddakhamAsamaNehiM uddehiAbhakkhiyaputthayapattattaNeNa tuTuM bhaggaM mahAnisIhaM sNdhi| - Ibid, pp. 19.

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The Tradition of Stupa in Jainism 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 Stupa as per Scriptural data: As per legends, the stupa was established in the period of seventh Tirthankara Suparsvanatha. He was from Banaras where his ancient shrine at Bhadaini Ghata is still worshipped by people. Dr. R. C. Sharma suggested, "Some important life events of Suparsvanatha might have taken place at Mathura, and thus, in his memory, the most ancient stupa was established55". As per scriptures, Mathura city was the chief Jaina pilgrimage centre, Arya Raksita once visited here and stayed at Bhutaguha Caitya, as referred in Avasyaka-curni. As imformed in the inscription of 'Palace gateway', the arch was gifted by a sravaka who was the disciple of Maharaksita. These both ascetics might be the same. Here, Arya Mangu became a Yaksa Niddhavana after Nirvanas. 2.7 The period of Stupa based on sculptures and epigraphic Records: The inscription records of Mathura's sculptures reveal that the stupa existed during 2nd century B.C. Some of the dedicatory donation records are given belowI) A palace gateway by Uttardasika (J.536 LM.) with inscription- "An ornamental arch for the temple, the gift of the lay hearer Uttardasaka, son of a Vachhi and antevasi of the samana Maharakhita". II) A Gateway of Balahastini (5.532 LM.). III) A palace fragment of Dhamaghosa having inscription- "A temple (pasada), a gift of Dhamghosa, the antevasini (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 Mathura..1900, op. cit., preface. 55 Sharma R. C., 1971, Mathura Jain Tirtha Kankali, pp.3. 56 Ibid.

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The Jaina Stupa at Mathura: Art & Icons 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 (aksaras) resemble the Kharosti script. The word 'susoti' is the 'Apabhramsa' of 'svasriya' according to Bengali language as explained by R. L. Mukharji, Here, the word 'Munasimita' seems to be 'Munisuvrata'the 20th Tirthankara. The inscription1 Sa(m) 70 1 va 1 di 10 5 2 e(?) tasya puvaye ha . 3 tiya(?) Munasimita(?) ye (?) 4 Minirava susoti 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 Ayagapatta of Aryavati, dated 42, of Mahaksatrapa Sodasa period. This is a votive tablet or Ayagapatta, though not mentioned in the inscription. It commences with adoration to Arhat. A woman, Amohini, presented the tablet of Aryavati for veneration, at the Jaina shrine, in the year 42 of Mahaksatrapa's reign. VI)The pedestal of Jina (5.20 LM., fig. 24) dated 79 of Kusana 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 sakha, gave the advice to make an image of the Arhat Nandavarta (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 Stupa, built by the gods."57 In general, the Saka/Kusana 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 Stupa at Mathura.., 1900, pp. 12

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The Tradition of Stupa in Jainism 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 torana beam of a procession, where Centaurs and Harpies are proceeding to adore the stupa (fig. 19, 20), available from the site of the stupa59, proving its establishment before 2nd century B.C. Above sculptures were installed in around stupa premises as per their inscriptions details like Arhatayana (A shrine of Arhatas), Prasadas (Shrines), Ranga-mandapa (An adjacent hall to the main Garbhagsha), Deva nirmita Vodva stupa, Ayagasabha and Caitya Pillar. The names of ascetics are seem to be familiar like Maharaksita and Vriddhahasti who might be Arya Raksitasuri and Vriddhavadi very often referred in Jaina scriptures. The available bricks used in the construction of the stupa 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 Gandhara School. Above scriptural and archaeological data leads to believing that the stupa which was described in inscription J.20 LM., is the same constructed by the deity Kubera. Jina Parsvanatha too visited the stupa and advised to cover it with bricks and sand. His period was 800 B.C. If we consider that the stupa already existed during his period, means the same was constructed at least 200 years earlier. Thus, the stupa 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 Karkali Tila, also known as Jaini tila, 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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62 The Jaina Stupa at Mathura: Art & Icons 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 sakha of Acaryas with the condition of Jaina Sangha. The city continued to prosper after Taxila's decline during Kusana 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 Gandharan artists with local touch. The images of Kusana 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 stupa in Yasastilaka campu64, Avasyaka curni65 came to light. Dr. Bulhar66 found out the mention of this stupa in Vividha-tirtha-kalp as advised by B. Indraji, while V.S. Agrawal found the detail of Salabhanjika in Rayapaseniyam sutra. 2.8 The Dispute between Jainas and Buddhists over Stupa and its Reconciliation: In the Tika of Vyavarsutra (Vyavahara-curni), 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 stupa 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 curni, I, 472. 66 Bhagavanlal suggested referring the same in V. T. Kalp.

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The Tradition of Stupa in Jainism 68 I) 63 The same story is available with minute changes in Harisena's Brhatkatha-kosa67 (Vairakumara Akhyana), Somdevasuri's Yasastilaka campu68 (Vajrakumara story in sixth Asavasa) and V. T. Kalpa. The author of 'Yasastilaka campu' narrates the story of erection of the stupa with a little change. In Mathura, there was a king named Putikavahana. 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 Putikavahana. 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. Urvilla immediately approached the Rsi 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, Vajrakumara, who was his son before renunciation and requested to use his magical powers for the continuation of the practice of procession. Vajrakumara 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 stupa with the image of the Arhat. Since then, the shrine was known as 'Deva nirmita'. Jinaprabhasuri describes the myth regarding the controversy over the right to the stupa with Vaisnavas, Saivities 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 "Ma Kalaheha! (Don't Quarrel!), this is the 'Deva Nirmita Stupa' so doubts 67 Vairakumara-kathanak - Brihatkathakosha (Harishen), (Bombay, Bharatiya Vidyabhavan, 1942), pp. 22-27. Trans. Sundarlal Shastri, Varanasi, Yasastilaka campu,. II) Handiqui, K.K., pp. 415. 69 pahAe loA vibuddhA taM thUbhaM picchaMti parupparaM kalahaMti a / keI bhAMti - vAsuilaMchaNo esa sayaMbhU devo / anne bhAMti - sesasijjA Thio nArAyaNo es| evaM baMbha- dharaNiMda - sUra - caMdAisu vibhAsA / buddhA bhAMti na esa bho kiMtu buddhaMDau tti / -V.T. Kalp, pp.17

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64 The Jaina Stupa at Mathura: Art & Icons 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 Suparsvasvami on the plank and this pado/plank remained there and others were thrown by Devi70. The king declared the shrine as Arihanta Deva stupa and the painted cloth with the name of Arihanta - Suparsvanatha was carried around in a procession, later, in the city. From the above references, one can conclude, that the stupa 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 stupa before and after the issue arose about its belonging. 2.9 The Stupa Architecture: The construction of stupas 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 stupa near Taxila with Jainism. Havell, the historian, talks about the existence of many Jaina stupas during the Mauryan period As we have seen, the stupa at Mathura, 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 Dvaraka 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 Torana archway, 70 tao majjhatthapurisehiM bhaNiaM - mA kalaheha / esa tAva devanimmio tA so ceva saMsayaM bhaMjissai tti / appappaNo deva paDesu lihittA niaguTTIsameA acchaha / jassa devo bhavissai tasseva ikko paDo thkissi| annesiM paDo devo ceva naasehii| saMdheNAvi supAsasAmipaDo lihio| tao lehianianiadevapaDA saguTTIA pUaM kAuM navamIrattIe savvadarisaNiNo gAyantA tthiaa| addharatte udaMDapavaNo taNasakkarapattharajutto psrio| teNa savve vi paDA toDittA niiyaa| palayagajjiraveNa naTThA disodasiM jnnaa| ikko ceva supAsapaDo tthio| vimhiA loaa| esa arihaMto devo tti / so paDo sayalapure bhaamio| -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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The Tradition of Stupa in Jainism bearing a stupa, worshipped by Centaurs and harpies (fig. 19, 20), as well as the Ayagapatta of wheel (fig. 108), with the depiction of a half lion and half man adoring the symbols of three jewels, stupa and caitya tree also prove the antiquity of the same, long before the Kusana period. Another arch of door lintel now housed at the Delhi Museum has a carving, of the stupa building higher than other buildings in the scene of city procession. Cunningham noted the measurement of the Kankali Tila - 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 stupa depicted on ayagapatta (fig. 41) and Torana (fig. 19) have similar structure like Samavasarana. Dr. U. P. Shah has compared the stupa with Samavasarana 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 stupa 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 Samavasarana is based upon the architecture of a stupa. 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 stupa may be compared with Samavasarana and Panca-meru. Dr. Shah remarked that the conception of stupa has its basis in the Ziggurat or Jaruka. He also noted that Ziggurat is a stepped pyramid having three stages76. 73 Henrich Luders, Mathura 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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66 The Jaina Stupa at Mathura: Art & Icons 2.10 The Available Artistic Sculptures from Jaina Stupa: Mathura was considered one of the greatest art centres in India. The art activity was at its peak from pre Kusana to the Gupta period. The rulers of Mathura have always patronized the Gandhara and Mathura art schools. Artists of both schools had worked hard to produce memorable wonderful railing pillars, toranas, Ayagapattas, brackets and images with full devotion and skill. They have their own aesthetic value. As per historians, the Kusana 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. Ksatrapa, Kusana, Gupta and the medieval period. These sculptures are now housed in the Government museum at Mathura, 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 Salabhanjikas 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 Tirthankaras. 2.11 Jaina Images: We know that Jina images are always depicted in Yogic posture, either in Padmasana or Khadagasana. Most of the images of the Kusana era are portrayed with a broad chest and thin waist, exhibiting Veera Rasa. Other Rasas such as Santa 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 Mahapurusalaksana of Jinas.

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The Tradition of Stupa in Jainism Mostly Jina images are depicted with Usnisa, Srivatsa, Cavardharis and devotees; its pedestal serves the development in belongings of ascetics of both traditions-Shtavira 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 Panca-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 Kusana era onwards. Parsvanatha is depicted with canopy of Dharanendra (fig. 44). The carving of the Neminatha image with the company of Krsna-Balarama (fig. 45) available since the Kusana period discontinued after the late Gupta period, though one such image of medieval period is found from Dempier Nagar, Mathura77. This is a unique feature of Mathura's art school for carving Aristanemi image. The depiction of all 24 Jinas was not in vogue during Kusana period, but Rsabha, Nemi, Parsva could be recognised with their characteristic appearance while Mahavira, Munisuvrata, santinatha and Sambhavanatha could be known by their names in inscriptions. Out of 119 Tirthankaras figures available from Mathura, 93 are in sitting posture (padmasana), while others are in the standing position (khadagasana). Standing figures are without lower linen but their eyes are open, while in the padmasana figures nudity is not visible. Dr. U. P. Shah suggests that the difference between the Jina image of the Svetambara and the Digambara in respect of nudity didn't exist in Kusana 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 Mathura is of 2nd B.C. On the Ayagapatta of Sivaghosika, Parsvanatha is carved with Ganadharas. 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 Mathura school, it appears that the adoration of Yaksa-Yaksi cult was already in practice. The depiction 77 Cat. of Jaina anti.in Mathura Museum, 2003, pp. 142. accn. no. 2000.42 MM. 78 Shah U. P., Studies in Jaina..., 1955, pp - 11

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The Jaina Stupa at Mathura: Art & Icons of Naigamesa, Ksetrapala, Sarasvati, Laksmi, Ambika, Vidya etc. are available since the 1st year of Kusana period, while the adoration of Aryavati is even prior to Kusana rein. In one of the archaic frieze, Naigamesa, is shown seated on a lion throne79, after transferring the embryo (fig. 14) of Mahavira. Here sweets are shown offered to him as a mark of honour. The words "Bhagawan Nemeso"80 are depicted below the throne. Deity, Naigamesa 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 Kalpasutra, Antagadadasao, Neminathacaritra, Susruta-samhita etc. Total sixteen images of Naigamesa are in both forms, male and female with the head of an antelope or a goat are excavated. Out of them 14 are in Mathura 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 Naravahana Kubera, Simhavahana Ambika and Svana-vahana Ksetrapala Yaksa protecting the tirtha8l as per Vividhatirtha-kalpa. Some armed salabhanjikas found in excavations are likely to be of such deities showing their distinctive character as guardians. The two Salabhanjikas (1.63 and J.64 MM) were found flanking the Ayagapatta of stupa (Q2 MM). They were brought from Mukund Kuva at holy gate82, Mathura. One separate image of Ksetrapala (Bhairava) with Jina on his head looking very ancient available from Mathura, 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 Laksmi, (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 Kubera. Her Usnisa is like aryavati. Another image (fig. 46) of a deity wearing thick anklets also seems to be Laksmi. She is included in the dreams of 79 V. Smith, 1901, The Jaina Stupa at Mathura.., 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 Stupa at Mathura..,1901, pl. C III.

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The Tradition of Stupa in Jainism 69 Tirthankara's mother. The 45th chapter of Vividha-tirtha-kalpa comprises with the names of the sacred tirthas of twenty four Jinas. Here the author informs us that Sri Suparsva's stupa was established by Mahalaksmi - 'Mathurayam Mahalaksmi nirmitah Sri-suparsva-stupah'. Thus Kubera and Mahalaksmi seems to be the same. One image of Parsvanatha found from the site is worth mentioning, it has a yaksi in his canopy (fig. 47). Also there are two separate sun images (fig. 30, 129) obtained from the Kankali Tila site showing that the worship of such deities in Jain pantheon was popular in Kusana 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 Kankali Tila. The life incidents of Jinas and important personalities are narrated in sculptures like Buddhist tradition. A frieze depicting the dance of Nilanjana (1.609 LM. fig. 13) is well executed by Mathura artist. The story of Valkalaciri 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, Torana 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, Mathura, suffered heavy destruction by invaders. On seeing the broken pillars, Salabhanjikas, mutilated images, colossal heads, pedestals, brackets etc. of Mathura 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 Stupa at Mathura... 1901, pl. XXVIII. 84 Ibid., pl. XL & XLI.

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70 The Jaina Stupa at Mathura: Art & Icons "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 Mathura in his ninth invasion. The date of invasion advancing towards Mathura 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 Kasmira 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 city. In the view of Dr. Sagarmal Jain, the place Barana is Varnavata or Baranavat where Pandavas were planned to burn in Laksagriha by Kauravas; here the Varana gana was introduced as Jaina ascetic order by Acaryas. The fort of Kulchanda having vast territory, enormous wealth and deep forests is recognized. as Mahabana near Mathura. 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 Maharatu, which was later recognized as Mathura. The author of the Vividha-tirtha-kalpa had described the city as Mahuraura.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 Jinaprabhasuri- V.T. Kalpa, pp-17.

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The Tradition of Stupa in Jainism 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 Kankali Tila, a pedestal (J 20 LM, fig. 24) unearthed, contains an inscription discussed above that it was established at stupa which was erected by deity long before. One can guess that the unique enormous building described by Gazani was likely to be Jaina Stupa. 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 Mathura were also described by the Sultan 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 Tirthankara 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 Rsabha (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, Mathura- a district memoir-2nd edi. 1880-pp-33.

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72 The Jaina Stupa at Mathura: Art & Icons precious stones and putting diamonds and other valuable jewels for eyes still continues with Jainas in Svetambara 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 stupa 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 Mathura 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 Tila kankali, 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 kankali, by which the tila was known"92, Henrich Growse also talked, that occasionally the hill was called the Jaini tila93. 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-Tila 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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The Tradition of Stupa in Jainism 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 Mathura /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 stupa, 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 Abdali 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, Sahu Todarmal built five hundred and fourteen new stupas at Mathura with Akbar's permission. The celebration of the same was held in 1573 A.D.95, but the author of the book 'Jambusvami Caritra' noted that Sahu Todarmala renovated 515 stupas 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 'Aine Akbari' by Abul Fazal describes some Hindu temples at Mathura. 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 Mathura, 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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74 The Jaina Stupa at Mathura: Art & Icons 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 Mathura, which might be a Jaina stupa visited and adored by Jaina Acarya 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 Mathura, fully developed Jaina temples, stupas and images already existed. According to Dr. Sagarmal Jain - "In Jainism, the stupa tradition flourished from 200 B.C. to 500 A.D. One of the branch of Jainism - Yapaniya tradition, existed between 5th to 15th century A.D., was known as Panca-stupanvaya. Mathura was considered its chief centre so there might be a possibility of existence of five stupas. The construction of stupas reduced by the gth century with the development in Jaina shrines and Caitya-pillar. When Vividhtirtha-kalpa, was composed by Jinaprabhasuri the stupa at Mathura 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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Mathura School of Jaina Art 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. Mathura played a significant role in developing religious activity in Jainism like other faiths. 3.1 The Evolution of Jina Images : The Jaina stupa at Kankali Tila witnessed a new cult in worshipping images that continued to medieval period. The tri-tirthi, sarvatobhadra, pancatirths and 24 Jinas on a stele are the product of Mathura art style The Ayagapatas, nimbus, attending deities, asta-pratiharya around Jinas, a wheel on a pedestal flanked with fourfold community first appeared here. 3.2 The Development of Mathura Art Style: To comprehend Mathura school of art with Gandharan 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 Gandhara. Dr. Ghosh mentioned about the development of Gandhara art during early Christian era, after he visited Barcelona, 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 Gandhara and Bamiyan was followed by the Romano-Buddhist art of Amaravati and Nagarjunikonda, 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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76 2 3 The Jaina Stupa at Mathura: Art & Icons 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 Uddiyana), Bunara in the North region up to the Indus in the east and the neighbouring districts as well as Taksasila in the south east. The whole region was divided mainly into two parts - Puskalavati3 and Taksasila1. 3.3 The impact of Gandhara Art style on Mathura School: The influence of Hellenistic work is traced on some of the Ayagapatas and capital brackets from Mathura - viz. the wine-creeper on a side of an Ayagapata (fig. 106) donated by Sivaghosaka's wife, a pair of lion with a human face flanking the symbol of three jewels on an Ayagapata of a wheel (fig. 108), a border of wine creeper on the back of an Ayagapata (Q 3 MM.), the veneration of stupa (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 Gandhara to Pataliputra. The people from Greece, Persia, India, China, Mesopotemia etc. resided together in Gandhara 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 salabhanjikas showing women delicately engaged in their routine work. The influence of the western art entered Gandhara territory under the Parthian patronage, became the characteristic of Gandhara art style which Ghosh, Art pilgrimage..., 612. It is called Carsada, but again changed to Puskalavati as per the lecture on Indus Civilisation in seminar (Bombay Uni., 2007). East Gandhara now Taxila. - Smith V., Jaina Stupa at Mathura, 1900., pl. - XLIII, pl. - XXXVII, pl. - X, pl. - VIII (fig. 27).

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Mathura School of Jaina Art later on was absorbed in Mathura products. It adopted salient features of Gandhara 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 Gandhara 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 Mathura artists to depict important life incidences of Tirthankaras in the stupa and shrines at Mathura. 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-tirtha by Bahubali, the son of Rsabhadeva. Here Cakra-tirtha might be a tirtha with a cakra in a shrine. There were two vital centres for art activities in India under Kusana Empire namely Gandhara and Mathura. Though Mathura 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 Kusana dynasties viz. Kaniska, Huviska and Vasudeva, hence they succeeded in exchanging their ideas. The adopted Gandharan style is noticed on many sculptures of Mathura school as mentioned earlier. Ksatrapas ruled at Mathura for a short period before Kusana kings took over the entire territory. They are remembered for three inscribed sculptures which include the period and the names of consecrators1. Amohini's Ayagapata (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 Mathura school of art: The excavated materials in Gandhara region, reveal that the same was a main Buddhist centre since Asoka's reign. The artists of this school were deeply influenced by Greek art and stressed more on outward features while Mathura artists developed specific 'Mathura School with their perception and knowledge of religious philosophy, culture and society. They had their own skill developed before adopting Gandharan 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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The Jaina Stupa at Mathura: Art & Icons 3.5 which could be seen on beautiful artistic Ayagapatas and the Parkham statue of yaksa and other gigantic images of early Kusana period. Agrawala V. S. remarked about the image of the yaksa 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 Gandhara schools are* The carving of heavy and short body of Tirthankara (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 Mathura School (in detail): 1. The sculptors adopted the characteristics of great personalities (Mahapurusa laksana) in carving of Jinas like hands reaching up to knees, srivatsa 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, nandyavarta, etc. were also popular. 3. As seen, Mathura 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 Mahavira by deity Naigamesa. 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 Gandhara art is noticed on Mathura school, chiefly in adornment of animals with human faces, creepers, flowers, etc. 8 Shah U. P. and Ernest Bender, "Mathura and Jainism", in "Mathura - The cultural Heritage" ed. Doris M.S. op. cit. (1989): fn. 213.

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Mathura School of Jaina Art 79 The available torana, 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 stupa in the vicinity reveal the affluence of Mathura city. 4. In Mathura, 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 Ayagapatas and parasols. They adopted ancient social and religious motifs like srivatsa, 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. Mathura artists also decorated the entrances of shrines on two Ayagapatas - Sivayasa (fig. 109) and Lonasobhika (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 stupa on Ayagapatas (fig. 41, 109) are twisted flower garlands (vandanvara) though look different from a distance. Such decoration is also noticed on the reliefs from Bharhut and also on Ayagapata of Aryavati (fig. 33). Artists depicted prolonged musical instrument Harp at least on three artefacts. Mathura School of art seems to be little primitive, but then also succeeded in carving marvellous stone images expressing calmness (santa bhava) 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, srivatsa, 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. Tirthankaras established Tirthas to

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80 The Jaina Stupa at Mathura: Art & Icons deliver the sermons for welfare of mankind sitting under caitya-vrksas in a samavasaranas formed by Indras but in their absence the process of awakening is carried out by symbols. The Rayana-vrksa at the top of the mountain Satrunjaya is adored by lakhs of the devotees where the foot print of Arhat Rsabha was installed. Even the river Satrunji 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-vrksa 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 Ayagapata, caitya vrksa, caitya stambha, stupa, three jewels (tri-ratna), astamangala, sthapanacarya, the dreams seen by Tirthankara's mother and 24 lanchanas of Tirthanakaras. The mountains like Satrunjaya, Girnara, Sammetasikhara, 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-gatyarthah to Mangateralac' with a termination (Pratyaya) 'alac' or 'ala' form final word mangala10. In Tiloya-pannatti, Acarya Yatirsabha has defined as One who melts, reduces, destroys and finishes the unauspicious happenings is said to be mangala.11 In Dasvaikalika-curni, it is explained as - 9 Rastogi S. Lucknow Samgrahalay ki Jain Pratimaen.., 2002, pl. 1, fig. 1. 10 'magi- gatyarthaH ' dhAtu se 'maMgateralac' se 'ala' se 'maMgala' / - H. Pandaya "Jain Vanmaya me Astamangala ek Addhyayana", Tulasi Prajna, publication, (Ladanun, April-June, 2006) pp. 11. 11 gAlayadi viNAsayade ghAdedi dahedi haMti sodhayade / vidhdaMsedi malAI jamhA tamhA ya maMgalaM bhaNidaM / / Tiloyapannatti, 1-9.

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Mathura School of Jaina Art 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, Brahmana, Vaisya, rice, mirror, curd, honey, fresh flower, Durva (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 Mahabharata 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 kosa13, synonyms for mangala is given as sreya, siva, bhadra, kalyana, subha, bhavuka, bhavika, bhavya, kusala, ksema, sasta etc. Many Jaina shrines (mostly Digambara) have pillars (manastambha) at the entrance having sarvatobhadra images on the top. An inscribed pillar obtained from Mathura has an elephant, Nandi Visala 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 pradaksina. The Ayagapata of Sihanadika has two massive pillars having the wheel and an elephant on top (fig. 110). Many Ayagapatas have such pillars on their sides. 12 I) H. Panday, "Jain Vanmaya me Astamangala ...", pp. 11, 12 II) + Righly 4 cila il via us for yafeti - Dasavaikalika-curni, 15. Hi qe cialfa HIGH I HI istefa farfa fa i - Dhavala-purana, 31-35. 13 I) Tric TH ya Taifa zvazreyasaM zivaM bhadraM kalyANaM maMgalaM shubhm| bhAvukaM bhavikaM bhavyaM kuzalaM kSemaM shstm|| - Amara Kos'a, 1.1.4.3-4. II) Pandey H., "Jain Varmaya me Astamangala.", pp. 2

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82 The Jaina Stupa at Mathura: Art & Icons 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 nandipada is available on Kharavela's inscription (Udaygiri - Khandagiri) cave at the end of second line showing its previous condition. It also appears on the door lintels of Rani-gupha, Ananta-gupha, and Ganesa-gupha situated at the same hill. The gateway of stupa at Mathura and the north and south torana at Sanci's stupa are decorated with this motif. Some copper coins available from Taxila are representing nandipada along with srivatsa. Two coins found from Sankisa near Mathura assigned to 1st century A.D. have representation of a goddess, a crescent and a nandipada.15 The dharmacakra 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 nandipada. In the view of Stella Kramrisch, these alligators have similarity with those of Bharhut 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 nandipada is also seen at the centre of pedestal instead of dharma-cakra on some of the Jinas of Kusana 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 Jnana, Darsana ani Caritrani Moksa margah/ 1st Gatha in Tatvartha-sutra. 15 Srivastav A. L., Bhartiya kala 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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Mathura School of Jaina Art some words, gives rise to some special application and cycle like kala-cakra, bhava-cakra, karma-cakra, sahasrara-cakra, sudarsanacakra 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. Sri-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 Kusana 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 Kusana to medieval period. In Kusana 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 nandipada to complete three jewels (J. 20 LM., fig. 86) 7) An image of Aristanemi from Sonbhandara, Rajagrha has a dharmacakra at the back side of a yaksa standing in varada pose flanking by conches. 18 A vertical wheel might be symbolising the continuity of carrying the sermons of Mahavira till today as suggested by present Acarya Kulacandraji.19 After fourth century A.D. it was carved at the same place on the pedestal but horizontal flanked with deer. The Ayagapata representing wheel with sixteen spokes from Kankali mound, is now in Lucknow museum. Its sixteen spokes might be symbolising sixteen special virtues (Bhavanas) 18 Shah U. P. Studies in Jaina art, 1955, fig. 18 19 As discussed about vertical wheel with A. Kulacandraji during his Caturmasa at Mulund, Mumbai in 2014.

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The Jaina Stupa at Mathura: Art & Icons to gain Tirthankara-nama-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 puja 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. Sthapanacarya: Besides the usual mangalas another article, sthapanacarya, the symbolic representation of Arhat and preceptor is also considered pious in Jainism. The word sthapana stands for establishment while Acarya for preceptor forms the word sthapanacarya. A layman uses simple sthapanacarya 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 Navakara 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 sthapanacary. Usually ascetic delivers the sermons in this mudra. An image of a monk holding a Manuscript in above mudra is obtained from Kankali Tila (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 Astmangalas : In Rayapaseniya-sutra, Jambuudvipa-prajnapti, sabda-kalpadruma and Trisasti-salaka-purusa-caritra22 a few selected astmangalas (eight auspicious articles) are described. It also serves as decorative top of architrave of the stupa, shrines and houses. 20 Rastogi, Lucknow Samgrahalaya ki Pratimaen.... pp. 26. 21 Ibid, pl. no. 1, (accn. no. 66.46 LM.) 22 tesi NaM toraNANaM uppiM aTra maMgalagA paNNattA, taM jahA - sotthiya, sirivaccha, nandiyAvatta, vadhdamANaga, bhadAsaNA, kalasa, maccha, dappaNa jAva pddiruvaa| mRgarAjo vRSo nAgaH kalazo vyNjnntthaa| vaijayantI tathA bherI dIpa ityaSTa mNglm|| -Sabdakalpadruma, part-1, pp. 148.

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Mathura School of Jaina Art 85 In Rajendra-kosa, the same is described separately dangling on Asoka 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 Svetambara Jaina tradition - 1. Svastika 2. Srivatsa. 3. Nandyavarta. 4. Vardhamanaka. 5. Bhadrasana. 6. Kalasa. 7. Darpana. 8. Matsyayugma. In Digambara Jaina tradition - 1. Bhringara (jar) 2. Kalasa 3. Darpana 4. Cavara (fly-whisk). 5. Dhvaja (Flag) 6. Vyajana (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 Ayagapattas. One of the Ayagapattas (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 lanchana of the seventh Tirthankara Suparsvanatha. 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 aSTaguNitAni aSTa vA mNglaani| svanAmakhyAteSu zrIvatsAdiSu tassa NaM asogavarapAyavassa uvariM bahave aTThamaMgalagA pnnnnttaa| taM jahA- sovatthiyaM, vatthA, NaMdiyAvatta, vadhdamANaga, bhaddAsaNa, kalasa, maccha, dppnn| tatra aSTAvaSTAviti vIpsAkaraNAt pratyekaM teSaDaSTAviti vRdhdaaH| anye tvaSTAviti saMkhyA aSTa maMgalAnIti ca sNjnyaa| - Rajendra kosa, 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: svasti nastAryo ariSTanemiH svasti no bRhsptirddhaatu|| - Rgveda, 1.89.6

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The Jaina Stupa at Mathura: Art & Icons 2. Srivatsa: The word srivatsa is a fusion of sri and vatsa where sri stands for Laksmi and vatsa for child or calf. Hence srivatsa could be described as one who is blessed by Laksmi and a child (Sign of prosperity). In short Arhat, Siddha, Buddha, Vishnu, Srikrsna, Srirama are carved with srivatsa mark on chest. Jaina image has a characteristic of carving srivatsa mark on chest symbolising a Mahapurusa. 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, Ayagapata, arched gateways of Mathura's stupa as well as Udaygiri - Khandagiri caves, etc. The famous inscription of Kharvela 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 Yuddhakanda of Ramayana, Srirama is considered as an incarnation of Visnu and called 'Srivatsavaksah 26. A srivatsa mark is available on the chest of Tirthankaras since pre Kusana period. Afterwards a trend of carving ornamental srivatsa on Jina images came into existence. The various ancient forms of srivatsa areI. A pair of tri-ratnas joined with their middle projection. II. A fish flanked by two serpents with raised hoods. Most of the srivatsa 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 Aupapatika-sutra, referers srivatsa as a Vatsa laksana of Bhagavana Mahavira - Siri vacchakiyam vacche. In Abhidhana Cintamani, Hemcandra calls the symbol on the chest of Visnu as srivatsa28. 26 ) stariat firsity: anya:1 mAnuSaM rUpamAsthAya viSNuH stypraakrmH|| II) foficerifchej a pro 27 M & John, Indus Valley..., Vo. 3, pl. 28 for you ani aasta sjakt: hradfasta: sa tu vakSasya zuklavarNadakSiNAvarta lomaavlii| - Yuddha-kanda, 111-13. - Aupaatika-sutra-16. - Hemchandra, Abhidhan Cintamani, 2-136 halAyudhakoza

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Mathura School of Jaina Art 82 3. Nandyavartah: This auspicious symbol has some more detail than svastika. It is a combination of two words Nandi and Avarta. This is the lanchana of eighteenth Tirthankara Aranatha. Dr. Pandey H. defined nandyavarta29 asNandi Janako Avarto Yatrah/ Its nine hands symbolise for nine types of prosperity (Navanidhi). 4. Vardhamanaka : It is a container having sandalwood (candana) powder to sprinkle on the head of disciple or devotee by Acaryas as a mark of blessings and prosperity. As per 'Amara kosa' it is 'Sarava', and a box having this material called 'sarava - samputa'. The practice of sprinkling candana powder from vardhamanaka is still used by Acaryas in Svetambara tradition. The carving of such vardhamanaka is seen on many Ayagapatas with other symbols. 5. Bhadrasana: 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. (Bhadraya lokahitaya asanam Bhadrasanam) It is defined in Amarakosa as the seat, where the emperor is sitting i.e. 'Nrpasanam yattad bhadrasanam simhasanam tat.' Sri Hemcandracarya also explains the same as the place where emperor is sitting- 'Bhadrasanam Nrpasanam'30. 6. A Pitcher or Purna 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 kalasa. In Lalitavistara, a Purna kumbha is considered as an auspicious symbol. 29 Pandey, Jain Varmaya...., pp. 18. 30 Hemcandracarya, Abhidhana-Cintamani, 3.380.

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The Jaina Stupa at Mathura: Art & Icons Bhagavati-sutra refers the establishment of many Kalasas of gold, silver and mixed metals, when Jamali, the son in law of Mahavira, sits on throne. Many sculptures from Mathura have depiction of Kalasas either separately or as one of the mangalas on Ayagapatas. It is also seen holding by Jaina monk with right hand on the right side of Sarasvati image of Kusana period (fig. 32). 7. Darpana (Mirror): Darpana too is considered auspicious in astmangala. The unidentified mangala on Ayagapata of Sihanadika may be displaying the folded darpana. 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 darpana are mukuta, adarsa, atmadarsa etc. The root of darpana is a 'Darpa Sandipane', with termination / pratyaya 'nica' forming the word darpana. 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 Tirthankara'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 Kausambi has a sword having a handle of a fish in the shape of a flag within a railing. The ancient srivatsa symbol has a fish in a centre surrounded by two snakes is available from Mathura. Here a fish is a symbolic carving for Laksmi. A fragment of an Ayagapata with Bhadrasana (divine seat) has a carving of a fish under its arms reflecting its reverence nature. Here at Mathura, 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 Kala pratika, (Ilahabad, Umesh Prakashana, 1999), pp. 116-117.

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Mathura School of Jaina Art 89 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 srivatsa 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-sutra32, Mahavira was attended upon by the four orders of deities Bhavanapati, Vanavyantara, Jyotisika and Vaimanika where he was meditating. Indra worshipped him after he erected a pavilion, where Mahavira is seated on a throne. Jaina tradition have references of Siddhayatanas, Yaksayatanas and Arhatayanas in their literature. Detailed description of eternal shrines (Siddhayatanas) or sasvata-caityas situated in various heavens and on several mountain peaks is referred to in many scriptures. Nandisvaradvipa has fifty-two Siddhayatanas. 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 bavanajinalaya. Likewise the still larger shrine having seventy-one small shrines and a main larger is known as bomterajinalaya. 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 prabhamandala or aura. It is influenced by period, place, artist, donor, geographical condition, availability of material, finance and the patronage. Therefore Jina images vary from Ksatrapa 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 srivatsa since Kusana 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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90 The Jaina Stupa at Mathura: Art & Icons available near Mathura 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 sikharas, 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 Akota, Valabhi, Mahudi and Lilavadeva 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 padmasana or in ardhapadmasana keeping both palms on one another, sometimes touching the naval. ii) Standing in khadagasana (Kayotsarga) mudra. These both meditation postures suggest severe austerity. The image of Rsabha (fig. 66) with locks touching the shoulder is available from Kusana era onwards, even Parsvanatha 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 Mathura school that continued up to late Gupta era, though one such image of medieval period is also found from Dempier Nagar, Mathura.33 The concept of 24 Tirthankaras 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 Khadagasana or padmasana. ii) A stele comprising carvings of two Jinas is called dvitirthi (fig. 70), while with three Jinas known as tritirthi (fig. 71, 134). The 33 Catalogue of Mathura Museum, 2003, pp. 142 (Accn. no. 2000.42).

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Mathura School of Jaina Art oldest tritirthi is of Jina Rsabhanatha (pre Gupta period) seated on a cushion placed on lion throne. On the pedestal, two figures are in Padmasana 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 pancatirthi (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 pancatirthi has four Jinas in a row at the top of the main figure. Here mulanayaka is flanked by a pair of Cavaradhari, 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 covisi. Sometimes main central figure (mulnayaka) is surrounded by eleven or thirteen other Jinas, then it is known dvadasaJinas or caturdasa-Jinas respectively. The individual carving of 24 Jinas on a stele was not in vogue in Kusana period, though one Covisi image having Rsabha as a chief idol is obtained from the site Kankali Tila seems to be of 3rd century A.D. (fig. 11), as it is with combed hair. Here Nemi and Parsva Jinas could be easily recognised by their special form-while Mahavira, Munisuvrata, Santi and Sambhava Jinas could be known by their names in the inscriptions. Total number of Tirthankara figures available from Mathura are 119 where 93 are in padmasana while about 26 standing kayotsarga figures are without linen and open eyes. Thus here both consecration of Svetambara 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 Rajendrakosa it is defined as, "Sarvatobhadrani mukhani 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 Kankali Tila of Kusana period ranging between saka year 5 to 74, carved in Khadagasana. 34 B. 7 MM. Catelogue of Mathura Museum, pl. 24,

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The Jaina Stupa at Mathura: Art & Icons The concept of sarvatobhadra or caturmukha pratima is based on the Jina when delivering the sermons, sitting in Samavasarana erected by Indras. The structure of samavasarana is mostly circular but sometimes square too with three tiers one above other narrowing from bottom to top. It is also called Gandhakuti (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 samavasarana. 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 Parsvanatha, in such cases it is difficult to recognise fourth Jinas. According to Amalananda Ghosh35 this may be based on the concept of yaksa caitya under the tree. Sasvata Jinas always occur in each Utsarpini and Avasarpini time cycle and have common names i.e. Rsabha, Candranana, Varisena and Vardhamana36. It is possible that some of the sarvatobhadra images may have been above mentioned group of Sasvata Jinas as here Parsvanatha is not seen on some of the images. The Adipurana of Jinasena describes the Manastambha at the entrance of the samavasarana which includes the four images of gold at the base. According to Tiloya-pannatti, 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 Manstambhas. At Deogarh and Chitor beautiful Manstambas are seen with four Tirthankara images on top. This practice is still popular amongst the Digambaras. The distinctive features of Caumukha images from kankali-Tila : I) Inscriptions on the pedestal commence from the side of Parsva (fig. 72), so one can assume that this was the front position (J.230, J232, LM). Here Parsva 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 Jivabhigama-sutra, 137, pp 235; Sthananga-sutra, 4, sutra 307; Pravacana-saroddhara, 491, pp 117,

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Mathura School of Jaina Art 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 srivatsa 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/chatrayasti (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 Parsva 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 Parsva with naga chatra. All has srivatsa, A pair of devotees are sitting on both corners facing both ways. Three sides have running inscription Three have haloes, Parsva with naga chatra, Rsabha with locks on shoulders, all have srivatsa, a round mortise at the top, devotees are at corners on pedestals, inscribed Parsva is with chatra and Rsabha 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 Parsva has chatra, all comprise with srivatsa, a square mortice at top. It is inscribed, but defaced. MM B672' 10" 5 MM B 68 3' 3" 107g

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94 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 srivatsa, three have haloes, Parsva has a chatra, found at the cross road Maholi where it was worshipped as Virabhadra. Original place might be kankaliTila. Carving is defaced, Parsva and Rsabha are noticeable. Parsva and Rsabha One sarvatobhadra image in padmasana of Gupta period has Kubera and Ambika on pedestal (fig.96). The bas-relief of caumukha image includes different patterns like Kusa 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 pradaksina. Ranakpur in Rajastan is best example of a caumukha shrine, where sarvatobhadra Rsabhadeva is mulanayaka. 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 Brahmana couple following the Jaina 'Panca-stupanikaya' faith. Deogarh and Gwalior also have beautiful shrines of early Gupta period, while at Delavada-Abu, caturmukha temple of Kharatara vasahi is of medieval period. 3.11 Concept of 24 Tirthankaras: Concept of 24 Tirthnkaras 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 Tirthankaras of present era, last three - Aristanemi, Parsvanatha, Mahaviira and first Rsabhadeva, are recognised by them. Moreover one inscribed pedestal of an image from kankali-Tila

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Mathura School of Jaina Art denotes the word 'Munisuvrata', earlier deciphered as nandyavarta also indicates the presence of 20th Tirthankara. Besides, images with the name Sambhava (EI. Vol. X, no.5. fig. 1, Saka year - 48), Santi (L.L. 27) and a covisi of Rsabhadeva37 also strengthens the covisi concept from earlier period. The covisi image with mulnayaka Rsabha has a simple nimbus surrounded by other 23 Jinas (Here all are seated in padmasana) where mulnayaka 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 "Pratima" 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 Tirthankaras with their associated deities in Khandagiri cave is assigned to early medieval period. The Tirthankara after getting Kevaljnana, preaches to all mankind sitting in samavasarana, is called Arhat, therefore he is shown with cavaradharis, asta-mahapratiharya, dharmacakra, caturvidha sangha and yaksa-yaksi. After nirvana, he becomes Siddha. Siddha is without body i.e. asariri, reached to Siddha sthana or Siddhasila where there is infinite bliss and no rebirth. They are Kevaljnani Jivas. Siddha is displayed without any yaksa-yaksi and cavaradhari. 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 pratiharyas, but only with emitting sunrays or lotus buds in nimbus. In Jaina shrines both type of images are adored by devotees. The images from kankali-Tila range from 2nd century B.C. to 11th century A.D. The epigraphic records reveal that they were installed at - 1. Arhatayana - 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 stupa.., pp. 52, Pl no. XCIV.

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96 The Jaina Stupa at Mathura: Art & Icons 3. Words like 'Deva nirmita Vodva stupa' and 'Deva nirmita' are available on one and three images respectively. 4. Ayagasabha the sacred assembly hall - Here Ayaga stands for sacred and sabha 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 Kusana, Gupta and medieval period with their distinctive features: The collected large quantity of material from kankali-Tila, Mathura is placed at Government museum Mathura, State museum Lucknow, National museum Calcutta/Delhi, Albert museum London and at many other places in India and abroad. The Images of Kusana 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 Mathura school of art, the Gandhara style and the regional artistic influence. The art of Mathura school illustrates the development and evolution of iconography in Jainism. The Kusana kings were with secular outlook therefore Jaina art and religion flourished in their kingdom. Mathura 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 Kusana period were without any support at the back. They were carved with stretched hands in padmasana (fig. 52, 55) and long hands up to knees in Khadagasana (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 srivatsa 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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Mathura School of Jaina Art of astapratiharya around the Jina was yet to start, but the depiction of cavaradhari, yaksa-yaksi and devottes can be noticed (fig. 66, 99). The images of Kusana 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 Usnisa on head or without Usnisa while Buddha images of this period are invariably with Usnisa. 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 mahapurusa laksanas. 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 Tirthankara 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 Mathura artists during Gupta period. The aureole carved with a number of concentric bands and the tastefully carved halo showing radiation of knowledge from the Tirthankaras in all directions. This is the aesthetic representation of samavasarana/preaching to all38". During this time the yaksa - yaksi as sasana devata and lanchanas 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 Mathura 'by Sharma V. K.

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98 The Jaina Stupa at Mathura: Art & Icons 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 mahapurusa having asta-pratiharyas and cavaradharis, 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 Parsvanatha image39 in the year 426 A.D. According to Varahamihira, the Jina images depicted with long hands, srivatsa 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 astamaha-pratiharyas - 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 Rahu 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 Tirthankaras rather than mulanayaka, in parikara also became popular. In case of a single Jina a parikar has cavardharis and garland holders flanking the mulanayaka (fig. 99) but if two Jinas sitting in padmasana flanked the chief idol than the whole sculpture is called tri-tirthi. Here besides mulanayaka image, the other two were depicted below the torana upto the face level. In case of standing image, mulanayaka 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 Brihitsamhita Adhyaya, 58 41 I) Samavayanga-sutra, no. 34, pp-569, Mahapurana (Puspadanta), Abhidhana cintamani - Hemcandra, 57 to 64., Tiloya pannatti, pp 896-915, II) Chanchreek K. Jain Mahesh, Jain Art and Archi. pp-72.

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Mathura School of Jaina Art 99 pancatirthi image, a parikara has two Jinas in padmasana and two are in khadagasana in addition to mulanayaka. Thus a sculpture is called pancatirthi with the help of parikara. The lanchana of the image goes with mulanayaka. The pedestal is the seat of Jina, carved below the cushion comprises with a yaksa-yaksi pair of mulanayaka on extreme corners, a lion and an elephant on either side of centre's Prasada devi. At the centre below the Prasadadevi, 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, Usnisa, 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, urna, eyes and astapratiharya on the parikara, etc. The details are as followsThe images of Kusana 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 Tirthankara 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 Kusana period are in parallel crescent (fig. 79, 82). The Usnisa: In Kusana period, the usnisa on head of Jina was not seen (fig. 1, 44), but sometimes slightly raised usnisa is also noticed (fig. 60, 80). The Jina images on Ayagapatas of early Kusana period are with usnisa (fig. 105, 106). Facial expression to provide Jina in various mode (bhava) like Karuna (compession) and santa 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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100 The Jaina Stupa at Mathura: Art & Icons Nimbus: Jina images of Kusana period are available with or without back support, containing simple prabhamandala/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 Kusana 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 manibandha looking like a triangle (J. 6, J. 70 and J. 17 LM.). The snake hood of Parsvanatha also, often seen with such carving. A Parsvanatha image of 2nd century A.D. (fig. 84, B. 62 MM,) has svastika, vardhamanaka, srivatsa, pitcher, a pair of fish and three jewels depicted on his canopy. 3.15 Lions on pedestal: The seats on which Tirthankaras are resting vary from Kusana to Gupta and to medieval period. The artists of Mathura school have projected lions on corners of the pedestal in many varieties when Jina is sitting in Padmasana - 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 Manasara, etc. The adorant figures in sitting posture on pedestal flanking the wheel are always depicted in caitya-vandan mudra (fig.85). Many Kusana sculptures are available in round carving of Mathura school. Jina images were also not exceptional in such carving (5.7 LM.). Some of them are available with the carving of caiya-vrksa on back of the images (J. 81, J. 117, J. 120 LM.). Even the Ayagapatas contain inscriptions at back with grapes border like Hellanic art. In Gupta period the seat

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Mathura School of Jaina Art of Jina images in padmasana 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/Lanchana: The depiction of lanchanas was not a customary in early Jina images. The practice of carving lanchana on Jina images was not known in Kusana period. Here Parsvanatha image is shown with canopy, Aristanemi with Krsna and Balarama, Rsabhadeva with locks of hair and Vardhamana 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 Kusana 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 srivatsa mark. 101 3.17 The round carving of Tirthankaras - 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-vrksa 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, srivatsa 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. Krsna is standing towards the left of a Jina recognised by carrying a conch with right hand. A

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102 The Jaina Stupa at Mathura: Art & Icons male and a female disciples are standing near the feet of standing Jina might be his fiancee Rajimati and younger brother Rahanemi. He was asked to perform austerity as a part of his repentance by Neminatha according to Kalpasutra. Two devotees are adoring the Jina in kneeling mudra. 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 tritirthi. 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 Kankali Tila reveal the evolution in belongings of male and female ascetics. It comprises with two lions on the corner forming sinhasana for Arhat. Jaina images from Kusana to pre-gupta period (78 A.D. - 300 A.D.) have depiction of caturvidha sangha/four-fold community on their pedestal i.e. sadhu, sadhavi, sravaka and sravika. It has given very high status as it is considered 25th Tirthankara. Even the Acaryas 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 Kusana period the pedestal of Jina image was chiselled with dharmacakra in the centre with equal distribution of sadhus and sravakas on right while sadhvis and sravikas 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. sravakas are standing with folded hands next to them (fig.1). To the left of dharmacakra sadhvis are shown carrying pratilekhana with right hand with open span to bless same as Sadhus, while holding a sanghati with left. It is believed that Lord Mahavira renounced the world with a piece of cloth on his body known as Devadusya 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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Mathura School of Jaina Art __103 A) The Belongings of ascetics as described in scriptures : The first Srutskandha of Acaranga-sutra, refers only five belongings for Niganthas/ascetics - i. Vastra (cloth) ii. Patra (bowl) iii. Kambala (blanket) iv. Patrapronchana and v. Katasana (a piece of woollen cloth used for sitting while meditating)43. It classifies four types of niganthas/sramanas as per their linenAchela - without clothes44, Eka-sataka - 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 sutra further remarked that young physically fit sadhu should keep only one cloth 48. For women ascetics the dress code mentions that she should keep four sanghatis/linen of different sizes viz, * one sanghati having two hands wide, (one hand is nearly about one yard) * Two sanghatis of three hands, * One sanghati of four hands, Thus four sanghati are referred to sadhvis49. With regards to increase in articles nothing is pointed out in sutra, except the rules for accepting them. In relation to belongings, Uttaradhyayana-sutra narrates to use three belongings by ascetics - (a piece to wipe the face, a piece to use to 43 vatthaM paDiggahaM kaMbalaM pAyapuMchaNaM uggahaM ca kddaasnnN| etesu ceva jaaejjaa| AyAro (AcArAMga) 1/2/5/112 and ibid, 1/8/1/1. 44 aha puNa evaM jANejjA-uvAikkaMte khalu hemaMte, gimhe paDivanne, ahA parijuNNaM vatthaM pariTThavejjA, ahAparijuNNaM vatthaM pritttthvettaa| - AyAro (AcArAMga), 1/8/6/92 1515 45 je bhikkhU egeNa vattheNa parivusite pAyabiieNa, tassa No evaM bhavai-biiyaM vatthaM jaaissaami| - Ibid 1/8/6/85 46. je bhikkhU dohiM vatthehiM parisite pAyacaiehiM, tassa NaM No evaM bhavati-taiyaM vatthaM jaaissaami| - Ibid 1/8/5/62 47. je bhikkhU tihi vatthehiM parisite pAyacautthehiM, tassa NaM No evaM bhavati-cautthaM vatthaM jaaissaami| ___- Ibid 1/8/4/43 48. je NiggaMthe tarUNe jugavaM balavaM appAyaMke thirasaMghayaNe, se egaM vatthaM dhArejjA, No bitiyN|| - AyAracUlA, 5/1/2 49 jA NiggaMthI, sA cattAri saMghADio dhArejjA - egaM duhatthavitthAraM, do tihatthavitthArAo, egaM cauhatthavitthAraM, tahappagArehi vatthehI asaMvijjamANehiM aha pacchA egamegaM sNsiivejjaa|| - AyAracUlA, 5/1/3

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104 The Jaina Stupa at Mathura : Art & Icons cover inner most parts and a simple linen.) mukhavastrika, gocchaga/payakambala and vastra. 50 50 Dasavaikalika-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, Vyavahara and Nisitha but not all fourteen stuff at a time as referred in Oghaniryukti-sutra for Sthavirakalpi. Vyavahara sutra, describes that a senior most ( sthavira ) can keep staff (dand), begging bowl (patra) parasol ( chatra), excretory bowl (matraka), stick (lathi), pona-falaka, cloth (vastra), cela-chilamilika and carma. Out of these articles, a trend of keeping matraka, danda, patra, 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 sutra are as follows - - 1. patra 2. Patrabandha 3 patra sthapana, 4. Patrakesarika, 5. patrapatala 6. rajastrana, 7. gucchaka 8, 9 and 10 (Three pieces) of pracchadaka, 11. rajoharana, 12. mukhavastrika, 13. matraka, 14. colapataka. paDilei patte avajjhai pAyakaMbalaM / paDilehaNAaNAute pAvasamaNi tti vuccaI || mUhapottiyaM paDilehittA paDilehijja gocchagaM / gocchagalaiyaMgulio vatthAI paDilehae / / je bhikkhU NiggaMthINaM AgamaNapahaMsi daMDagaM vA laTThiya vA rayaharaNaM vA muhapottiyaM vA aNNayaraM vA uvagaraNajAyaM Thaveti, ThavetaM vA sAtijjati / / 51. jaM pi vatthaM va pAyaM vA kaMbalaM pAyapuchaNaM / taMpi saMjamalajjaTThA dhAraMti pariharaMtiya / / Besides this reference one more is available in Anga literature - Prasna vyakaranas 3, which was rearranged in 7th century. Dr. Sagarmal Jain has uttarA0 17/9 - uttarA0 26 / 23 nizItha, 4 / 23 dazavaikAlika, 6 / 19 52 pattaMpattAbaMdho pAyaThavaNaM ca pAyakesariyA / paDalAI rayattANaM ca gucchao pAyanijjogo / / tinneva ya pacchAgA rayaharaNaM ceva hoi muhapattI / eso duvAlasaviho uvahI jiNakappiyANaM tu / / ee ceva duvAla mattaga airega colapaTTo ya / eso cauddasaviho uvahI puNa therakappammi / / oghaniryukti zrI harSapuSyAmRta jaina granthamAlA, lAkhAbAvaka, 1989 gAthA - 668, 669, 670 53 jaMpi ya samaNassa suvihiyassa tu paDiggahadhArissa bhavati mAyaNa- bhaMDovahi uvagaraNaM paDiggaho pAyabaMdhaNaM pAyakesariyA pAyaThavaNaM ca paDalAI tiNNeva rattANaM ca gocchao, tiNNeva ya pacchAkA, raoharaNa- colapaTka muhaNaM takamAdIyaM / paNhAvAgaraNAI 10/10

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Mathura School of Jaina Art 105 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-sutras and Ogha Niryukti. The most of the archaeological references of upakaranas/belongings are available on the pedestals of Jina images where sadhus and sadhvis are depicted in various form. On Mathura sculptures, the sadhus and sadhavis carried more than six belongings as seen on following bas-relief of JinaAn ascetic is carved holding a mukhavastrika besides a folded blanket in usual way to covers his nudity (fig. 24, J.20 LM.). Here the inscribed names and gana of Sadhu with his belonging kula is confirmed by the Pattavali of Kalpasutra. Thus here an ascetic is projecting the condition of Niganthas and portraying their order before the split of Svetambara and Digambara. Out of 14 belongings five to six are clearly visible in Mathura's Jaina images. Other four arei) Patra sthapana, ii) Patra puch, iii) Rajastrana and iv) Gucchaka / patrakesarika. 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. Arya Raksitasuri allowed to keep a matraka 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 Ekasataka Nigantha. Acaranaga-sutra as discussed earlier, a sadhu can keep one to three cloths. Svetambara monks later on started keeping Cola patta. Thus to keep 14 articles by Sramanas are accepted by their tradition. Yapaniya 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 Ka Yapaniya Sampradaya" pp. 469 to 485 and also pl.-3. 55 Frien Chill - majjhimanikAya, mahAsiMhanAdasutta1/1/2 aduvA saMtarUttare aduvA omacele aduvA egasADe aduvA acele| - AcArAMga sUtra (AtmArAmajI) 1/8/51 pR0 585 56 caturvidhaM upadhiM gRhNatA bahu prati lekhanatA na tathA celsy| - bhagavatI ArAdhanA (vijayodayA TIkA) gAthA 423 pR0 322

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106 The Jaina Stupa at Mathura: Art & Icons used when in need. On the base of belongings, the two traditions of Sramanas - 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. Dasavaikalika sutra - Rajoharana / Payapucchana/Gocchaga/Gocchaka. 2. Nisitha bhasya - Rajoharana/Payapurchana. 3. Brhatakalpa-sutra - Munjachippana. 4. Sthananga - Payapurchana. 5. Uttaradhayayana-sutra - Payakambala. 6. Mulaacara - Pratilekhana/Padilehana. 7. Bhagavati-aradhana - Pratilekhana/Padilehana. 8. Nitisara - Picchi. 9. Bhadrabahu kriyasara - Picchi. 10. Acaranga, Sutrakstanga, Bhagavati, Jnatadharma-katha, Upasakadasanga - Payapunchana. It seems that in ancient times a piece of blanket was used for cleaning the vessels, which later on was made into rajoharana 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 Rajoharana, 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 Aramanas are holding long rajoharanas. These may be the Mayurapiccha shaped like the Rajoharana of Svetambara monks. In view of Dr. Jain Sagarmal, "In the scriptures Bhagavati-aradhana and Mulacara one finds Padilehana/Pratilekhana instead of Picchi/Rajoharana 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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Mathura School of Jaina Art 107 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 Yapaniya ascetics kept Pratilekhana or Mayurapiccha but of what kind is not mentioned. From the commentary on Sadadarsana - samuccaya, of Gunaratnasuri (13th century) clarifies that Yapaniya Sramanas were keeping Mayurpicchi. The Yapaniya commentator of Bhagavati-aradhana, Aparajitasuri (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 Mulacara, Vasunandi (12th A.D.) has always explained the same as Picchi. Thus generally in the beginning, Pratilekhana, Picchi or Rajoharana was used for cleaning purpose irrespective of size and form. In Yapaniya tradition the mayurapicchi was no doubt popular as the qualities which are mentioned in the scriptures are all available in Mayurapicchi. Svetambara Agamas have never oppose Mayurapicchi, Nisitha curni 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 Svetambara - woolen Rajoharana. Patra (Kamandalu): In Acaranga curni a list of possessions of ascetics is given in which Kundika is also mentioned. In Yapaniya scripture Mulacara, refers to a patra to use for excretory purpose. Acaranga sutra talks option of the ascetics keeping a patra or not, selection of Patras, thus there are few opinions found. In Bhagavati Araadhana (Yapaniya 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 Sadhus-Sadhvis on Mathura 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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108 The Jaina Stupa at Mathura: Art & Icons who is without any clothes holding a small Rajoharana with one hand and a jholi to keep alms-bowl (patra) 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 pataras and keeping the same in jholi/cloth bag is still in practice with Svetambara tradition. 2. The ancient image of Sarasvati (fig. 32) has an ascetic holding a blanket with left hand and kamandalu with right, the Sravaka is standing on the left of the deity. 3. In the Ayagapata of Lonasobhika (fig. 41) the top of the stupa 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 Sadhvi holds Pratilekhana with right hand and a cloth/Sanghati with left. 5. An image of a monk in svadhyaya/pravacana Mudra (B. 20 LM. and fig. 90A) though without head then also provides much information of a Sadhu. He is sitting on seat/Katasana 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 Rajoharanas in their hands. Here an ascetic is wearing clothes and Sadhvi is wearing Sanghatis. 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 Kusana and pre Kusana period the trend of carving yaksa-yaksi along with Jinas were not in vogue but, in early medieval period a system of carving Yaksa-Yaksi on a pedestal of Tirthankara came in to practice. Hence it seems that the trend of carving them along with Jina is a later development. The obtained artefacts from Kankali Tila confirm the veneration of some deities since Ksatrapa period but their adoration flanking the Jina or on a pedestal came into practice in early medieval period, though there are few images of Kusana 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 Laksmi, Sarasvati, Surya, Kubera Ganesa, Ambika and Cakresvari, etc. from Kankali Tila strengthened the cult of their worship individually or with Jina. The images of Parsvanatha with canopy of Dharanendra also show the existing trend of worshipping deities with Jinas. The Paumacariyam!, Sthananga-sutra?, Samavayanga-sutra', etc. talk about great personalities4 (Salaka purusas). Out of them, 24 Tirthankaras and Krsna - Baladeva were more popular. 4.2 The Krsna and Balarama with Arisganemi: The mention of Krsna and Balarama is available in Uttaradyayanasutras (c. 3rd B.C.). Afterwards a detailed description is offered in Harivansa-purana and Maha-purana (7th A.D.). Nayadhamma-kahao also talks about Krsna. Antagada-dasao (in later edition) describes Krsna 1 2 3 1) Paumacariyam, edi. Jacobi H., (Varanasi, 1962) pp. 5, 145-57 (63 Salaka Purusas). II) Tivari M. N., Jain Pratima Vijnana (Varanasi, Parsvanatha Vidyapitha, 1981), pp. 32. Sthananga-sutra, edi. Ghasilal, (Rajkot, 1964), pp. 22. Samavayanga-sutra, (54 Salaka purusas, here 9 Prativasudevas are not included), pp. 132, 158, 207. 24 Tirthankaras, 12 Cakravartis, 9 Baladevas, 9 Vasudevas and 9 Prativasudevas. I) Tivari, Jain Pratima Vigyana..., pp. 32. Uttaradhyayana - 22nd and 27th Adhyaya. II) Jacobi, Jaina sutras, part II, 112-119. Tivari M. N., Jain Pratima...., pp. 32. 4 5 6

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110 The Jaina Stupa at Mathura: Art & Icons 8 9 as a ruler of Dvaraka while Aristanemi renounced the world in his presence. From these scriptural references and images of Aristanemi with Balrama - Krsna, 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 Kankali Tila, 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 Kankali Tila 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 Krsna -Dauji (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 Mathura 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 Pratimaa...., pp. 33. II) Antagada-dasao, 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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The gradual development of Deities in Jaina Pantheon 111 One headless image of Aristanemill from Caurasi mound is of early medieval period flanked by Balrama and Krsna. On the pedestal of the same has a vertical cakra carved at the centre flanking with a yaksa and yaksi. A statuette of Aristanemi (34.2488 MM.) assigned to Kusana period seated in dhyana mudra has a scalloped nimbus flanked by Balarama 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 Kalpasutra mentions two vidyadharas - Vidyacarana and Janghacarana having vast knowledge of Tantrism i.e. doctrines of rituals, disciplines, and meditations of Tantrism. Therefore they are called vidyadharas (Dharayati vidya iti vidyadharah). As per Jaina scriptures, Gautamasvami reached the peak of mountain Astapada with the power of Sun beams. One of the purva, Vidya-pravada speaks Navagraha santi stotra composed (retained) by Bhadrabahusvami-I, the 5th Srutkevali. 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 Bhadrabahu 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. (Mathura, G. Museum, 2003), P1.40. 12 Nitya Patha Samgrah, ed. Sarabhai Navab, (Mumbai, Meghraj Pustak Bhandar, 1941). Janma lagne ca Rasauo ca yada pidanti khecaraha,.../ Puspaehi, Gandhaih, Fala-naivedya Sanyuktaih...// // Jinanamagratah kritva, grahanam santi hetave..// Bhadrabahuruvacaivam pancamah srutkevali// Vidyapravadatah purvad, graha santividhim subham/ -Grahasanti stotram. ,

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112 The Jaina Stupa at Mathura: Art & Icons 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 Drastivada but without its detailed explanation. From this episode one can infer that Jainacaryas had knowledge of tantra (vidyas), 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. Tirthankara Parsva and a yaksa Parsva are saluted and prayed to help devotees in such a situation. The Parsva yaksa of Jaina pantheon resembles lord Ganesa. Here yaksa Dharana and yaksi Padmavati are also adored to get rid of grief and to achieve Moksa. Thus by the time of second Bhadrabahu (5th century A.D.), yaksa-yaksi families were accepted as guardians of Sangha. Arya Vajrasvami used Pattavidya during a natural calamity to carry the Jaina sangha at a safer place in 1st century A. D. Avasyaka-niryukti, a commentary on Avasyaka-sutra refers that Vajrasvami secured many magical powers (vidyas) before these went in oblivion. We know that with the help of Bow-and-arrow knowledge (vidya), Acarya Kalaka defeated king Gardabhilla and rescued the female ascetic named Sarasvati. The Ayagapata (Q.2 MM) of Lonasobhika 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. Arya Rohana - 2nd century A.D. - 13 Panca pratikramanasutra, "Uvasagga haram Pasam, Pasam vandami kamma gana mukkam", Bhadrabahu II. 14 V. Smith, Jaina stupa at Mathura.., pl. CIII, (Ayagapata of Lonasobhika). 15 Ibid., pl. XVI.

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The gradual development of Deities in Jaina Pantheon 113 3. Acarya Nagarjuna - 4th century A.D. 4. Acarya Yasobhadrasuri - 4th century AD. 5. Acarya Manadevasuri - 4th century A.D. 6. Siddhasena Divakara - 4th century A.D. 7. Mallavadi - 5th century A.D. 8. Manatungasuri - 7th century A.D. 9. Haribhadrasuri - 8th century A.D. 10. Bappabhatlasuri - 9th century A.D. 11. Siddharasi - 9th century A.D. **12. Suracarya - 11th century A.D. 13 Jinesvarasuri - 11th century A.D. 14 Abhayadevasuri - 11th century A.D. 15 Viracarya - 11th century A.D. 16 Jinadattasuri - 12th century A.D. 17 Vadidevasuri - 12th century A.D. 18 A. Hemacandra - 12th century A.D. 19 A. Malayagiri - 13th century A.D. 20 Parsvadevagaai - 12th century A.D. 21 Jinakusalasuri - 13th century A.D. 22 Jinaprabhasuri - 14th century A.D. These Acaryas 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 Sasana Deva ki jay'. Even they are included in rites and rituals by many Jain Acaryas. The practice of offering fruits and sweets came into existence, though only the offering to Viras like Ghantakarna and Manibhadra were accepted as 'prasada' by devotees. In the beginning, the auspicious symbols, 24 Tirthankaras, their life incidences and philosophy 16 were carved for adoration. Then 16 Viz. three jewels, svastika, nandyavarta, wheel, etc.

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114 The Jaina Stupa at Mathura: Art & Icons 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 - 'Moksa'. Also due to the fear of their conversion into other faiths, Jaina Acaryas incorporated the worship of different deities to fulfil the wishes of lay followers with the help of yantra, and mantra practice. The Tirthankaras are great beings, detached from worldly affairs and therefore adorations of Salaka purusas, Rudra, Narada, Kulakaras, parents of Tirthankaras 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 Dikpalas, 64 Yoginis, 52 Viras and 9 Grahas. They are added to deva clan, seeing their influence, though 16 Vidyadevis (fig. 139), Aryavati, Negamesa, Surya, Ksetrapala etc. were worshipped since long. The yaksa-yaksi of a Tirthankara either in the form of Adhisthayaka 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 Tirthankaras. 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 Tirthankaras. The yaksa-yaksi (Adhisthayaka deva) of Tirthankaras always assist adorants. The Jainas call them sasana devatas who represent a class of gods classified as - Bhuvanapati, Jyotiska, Vyantara and Vaimanika. Yaksa - yaksis 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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The gradual development of Deities in Jaina Pantheon 115 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 yaksas is Kubera/Vaisravana in Vedic literature. Many Vedic gods and goddesses were incorporated in Jaina pantheon as Yaksas and Yaksis of the Tirtharkaras, viz. Cakresvari, Kali, Jvalamalini, Camunda, Ambika, Padmavati, Brahma, Sanmukha, etc. Jaina adopted Hindu cult and presented them as the worshippers of Tirthankaras. Jivabhigama-sutra18 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 Mahavira19. 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 Ksetrapalas.20 Their names are mentioned in Acara-dinakara without any iconographical details. One ancient image of Ksetrapala 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 Yaksa and Yaksi in scriptures and Mathura Art School: In Bhagavati-sutra21, a list of 13_obedient yaksas are given - Punnabhadda, Maaibhadda, Sumanabhadda, Salibhadda, Cakka, Rakkha, Punnarakkha, Savvana(Sarvanha), Savvajasa, Samiddha, Amoha, Asanga and Savvakama. Besides this, Tattvartha sutra22 also presents a list of 13 yaksas where first three are common, others are Svetabhadra, Haribhadra, Vyatipatikabhadra, Subhadra, Sarvatobhadra, Manusya-yaksas, Vanadhipati, Banahara, Rupayaksa and Yaksottama. It seems that the resting places of Lord Mahavira might be such Yaksayatanas.23 18 I) Jivabhigama, 3, pp 281. II) Vijayendra suri, Lok Prakash.., 1960, pp 357-8. 19 Vijayendra suri, Lok Prakash.., 1960, pp 357-8. 20 Tivari, Jain Pratima..., 1981, pp. 43. 21 I) Bhagavati sutra, 3, 7, 168. II) Tivari, Jain Pratima.., 1981, pp 34-35. 22 1) Tivari, Ibid. II) Tatvartha sutra, edi., Sukhalal Sanghavi, (Banaras, 1952), pp 119. 23 Shah U. P., Yaksas 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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116 The Jaina Stupa at Mathura: Art & Icons While studying the sculptures of Mathura school it appears that the adoration of yaksa and yaksi was already in practice since 1st era of Kusana or little early. On many images of this art school, yaksas are credited as flywhisk holders of Tirtharkaras (fig. 43, 81). 4.6 Aryavati (fig. 33): The deity Aryavati represented on Ayagapata 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 Shodasa. It commences with adoration to Vardhamana. Here the two uprights have lions on top. 4.7 Negamesa / Harinagamesi: The Jaina canonical literature were aware of the transfer of Mahavira's embryo from mother Brahmani Devananda to Ksatriyani Trisala. Here the process of embryo transfer/Garbhaharana is considered as one of the ten wonders narrated in sacred sutras24. 4.8 The Transfer of Embroy as described in Scriptures: In Acaranga-sutra25, the incident of transfer of embryo is described with planetary condition of Naksatra 'Uttara-phalguni' including the total days of pregnancy. A detailed description of procedure is recounted in Vyakhya-prajnapti also known as Bhagavati-sutra.26. Accordingly the work of transfer of embryo of mothers was carried out without giving any trouble to them. Harinegamesi 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) Sthananga-sutra, part 2,sutra -777, pp 523 - 21: Samvayanga-sutra, trans. by Malavaniya, pp. 891, Kalpasutra-subodhika Tika,, pp 64. II) Vijayendra suri, Tirthankara Mahavira, 1960, pp 104. 25 Acaranga-sutra, second Sruta-skandha, Bhavana Adhikara, pp 388-1-2. 26 I) ...Harinegamesi - sakkasa nam due ithigabham nahasiramsi va romkuvamsi...va. // Vyakhya Prajnapti, - Shataka 5, Uddesha 4, pp 218/1. II) Vijayendrasuri Tirthankara Mahavira pp. 107.

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The gradual development of Deities in Jaina Pantheon _ 117 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 Susruta-samhita, Kalpasutra, Neminatha-caritra, Antagada-dasao, etc. Acarya Rajendrasuri explained the word Harinegamesi - in Rajendra-kosha as one who obeyed the command of Hari-indra and also transferred the embryo of Mahavira is Harinegamesi-- 'harerindrasya naigamamAdezamicchatIti harinaigameSI' athavA 'harerindrasya naigameSI nAmA devaH yo devAnaMdAyAH', kukServIrajinamapahRtya trizalAgarbhe prAvezayat / - abhidhAna rAjendra, khaMDa 7, pR. 1187. As per old medical literature Susruta-samhita, 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 - Negamesapahrta28 is an evident reference to deity Naigmesa who transfered Mahavira's embryo. In the twenty seventh chapter of Susruta-samhita 'Uttara-Tantram', the deity 27 I) saptAnAmapyathaiteSAM sainyAnAM sapta nAyakAH / sadA sannihitA:zakraM vinayAt paryupAsate / / 8 / / te caivaM namato vAyu rairAvaNazca mATharaH / syAdamadhdiM harinaigameSI zveta zca tumbaraH / / 8 / / pAdAtyezastatra harinaigameSIti vizrutaH / zakradUto ati caturo, niyuktaH sarva karmasu / / 84 / / yosau kAryavizeSeNa devarAjAnuzAsanAt / kRtvA makSu tvacazcchedaM romarancairnakhAMkuraiH / / 85 / / saMhartumISTe strIgarbha, na ca tAsAM manAgapi / pIDA bhavenna garbhasyApyasukhaM kiMcidubhdavet / / 86 / / tatra garbhAzayAdgarbhAzaye yonau ca yonita: yonegarbhAzaye garbhAzayAdyonAviti kramAt / / 87 / / AkarSaNAmAcanAbhyAM caturbhaGagyatra saMbhavet / tRtIyenaiva bhaGagena garbha harati nAparaiH / / 88 / / - Loka Prakasha, Sarga 26, pp 334-2, 335-1. II) Viajyendrasuri, Tirthankara Mahavira, pp. 116. 28 zukrazoNitaM vAyunA'bhiprapannamavakrAntajIvamAdhmApayatyudaram / tat kadAcida yadRcchayopazAntaM naigameSApahRtamiti bhaassnte| tameva kadAcit pralIyamAnaM nAgodaramityAhuH tatrApi lInavat pratIkAraH / / 6 / / - Susruta-samhita, trans.y Kavi Kunjalal, (Varanasi, Chowkhambha Sanskrit series), ch. 10, Sarira Sthana, gatha - 61, pp. 274-275.

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118 The Jaina Stupa at Mathura: Art & Icons Negamesa is considered as a pitrgraha, 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, Skandapasmara, Revati, Mukhamandika 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 Yaksa-Yaksi. In this Samhita the word 'Ajanana:31 is used for Negamsa deity shows the fixing of iconographic formula while compiling the work Susruta-samhita, 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 Samhita':33 The other reference of Negamesa is available in Kalpasutra - when Indra became aware that Mahavira's soul (jiva) had taken place in the form of an embryo in the Brahmani Devananda, he first paid a homage to Arhat that was to be born. He understood that an Arhat ought not to be born in 29 Susruta-samhita, 27th Adhyaya, slokes 2,3,4 and 15. 30 Ibid, slokes, 7,9,11,12,15,18 and 21. 31 ajAnanazcalAkSibhUH kAmarUpI mhaayshaaH| bAla pAlayitA devo naigameSo bhirakSatu / / 32 Journal U.P.H.S. Vol. XX PT I&II, V.S. Agrawal, article on 'A note on God Naigmesa'. 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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The gradual development of Deities in Jaina Pantheon 119 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 Haringamesi-deva, the divine commander of infantry, to exchange Mahavira's embryo from Devananda to the royal queen Trisala 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 Negamesa 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 Neminatha-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 Naigamesa from Mathura: There are sixteen images of Negamesa obtained from Kankali Tila and surrounding areas in Mathura. Out of these 14 are in Mathura 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), Hiranyagamesi (very often known by this name in Jaina canon) or Negamesa 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 Mahavira is carved with Pratilekhana taking support of Negamesa-deva, while other baby is held by mother Devananda. The words "Bhagava.. Nemesa" (LL No. 101) depicted on the frieze below the deity's seat is of archaic character representing a legend from Kalpasutra 34 1) Kalpasutra subodhika tika,sutra -27, pp. 91-95. Sthananga, 5.1; Bhagavati Aradhana, 5.4: II) V. S. Agrawal, 'A note on God Naigmesa..': Vijayendrasuri, op. cit. pp 108. 35 I) Ed. N. V. Vaidya, //Icchami nam Devanuppiya sahoyaram kaniyasam bhauyam viinnam// - Anatagada-dasao, pp 11. II) Vijayendrasuri, 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 Stupa at Mathura.. pl - XVIII, obverse and reverse.

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120 The Jaina Stupa at Mathura: Art & Icons where he is mentioned as Harinegamesi-. The event is even narrated in Samavayanga-sutra and Rajaprasniya-sutra. In this sutra 14 life incidences of Tirthankara Mahavira 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 Mathura Museum is of early Kusana 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 Mathura 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 Mathura in 2003. 4.10 Vidya: One sculptured panel with two registers where upper has a stupa flanked by two Jinas and a lower represents an ascetic, a deity and female devotees with a lady ascetic. The stupa has two vedikas and a caitya-vsksa. 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 Sramana recognised by the name Kanha with the engraved words "Kanha Sramano' between a deity and him. Here a standing deity is seen in varada near Sramana (fig. 100) having similar posture like Aryavati. 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 Vidyadevis? The established date of the panel is 95 of Kusana era equivalent to King Vasudeva's reign. 4.11 Laksmi: An image of Laksmi (fig. 35, 80.2 MM.) found from Mathura of Kusana, period resembles with the image of Sarasvati 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) Samavayanga-sutra, pp 54, 32nd Samvaya. Rajaprasniya-sutra, 84 sloke, pp. 143. Vijayendrasuri, op. cit., pp. 110-111.

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The gradual development of Deities in Jaina Pantheon 121 flanked with some divinity beyond recognition (might be Ganesa and Kubera). Her Usnisa is like Aryavati. Another image (J.23 LM. fig. 46) of a deity dated 52 Saka year shows only her feet wearing thick anklets and a pedestal with an inscription that seems to be Laksmi. She is seated in a same posture like Sarasvati. Both the inscriptions have similar words. The inscription of above stated image commences with srivatsa, presenting her to be Laksmi. In spite of some similarity they are different chiefly in wearing ornaments, Sarasvati image is without any ornaments while Laksmi is wearing thick anklets. The deity is included in 14 or 16 dreams of Tirthankara's mother. 4.12 Ambika: In Jainism Ambika is recognised as the yaksi of Aristanemi 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 Kusumandi. The Pratistha- saroddhara, describes her with two hands and riding on lions. //Dwibhuja Simhasamarudha amradevi haritaprabhall (Pratistha-saroddhara, manuscript from Ara,Bihar) An image of Ambika39 (fig. 36) obtained from Kankali Tila is of medieval period. The deity is in lalitasana 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 Kubera is seated, recognised by his purse and a bowl. Both have oblong haloes. The chief deity Ambika is attended by two flywhisk holders on either side. A Tirthankara Neminatha is shown on her head flanking Krisna and Balarama as observed in Mathura 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 Cakresvari: An image40 (fig. 37) of Cakresvari - the yaksi of first Tirthankara Rsabhadeva, is obtained from Kankali Tila. 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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122 The Jaina Stupa at Mathura: Art & Icons some are mutilated, hold a wheel (cakra). A Jina at the top has two maladharis 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 stupa, a Jina and an unidentified female deity at the centres in three semi-circular bands. The uppermost band shows a stupa 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 lalitasana 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 Salbhanjika4l 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 (vahana) 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 salbhanjika might be the yaksi Ambika of earlier period. There are two more Salbhanjikas standing on demons carved in round with lotuses behind and standing on strange persons (fig. 103). There is a reference of yaksi Kubera protecting the stupa at Mathura in Vividha-tirtha-kalpa having a vehicle a man (Naravahana). An Ayagapata of Lonasobhika 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 Kubera. 4.15 Dharanendra and a Yaksi in a Canopy of Parsva: One bronze image of Parsvanatha with canopy of Dharanendra in Prince of Wales Museum (Mumbai) assigned to 2nd century B.C. This is the recognition of Tirthankara Parsvanatha image continued in Kusana era and afterwards too. One Parsvanatha image of late Kusana period, found from Kankali Tila has a yaksi 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 yaksi standing in blessing mudra under the caitya-vrksa 41 V. Smith, Jaina stupa at Mathura.., plate-LXII

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The gradual development of Deities in Jaina Pantheon 123 The dreams of Jina's mother comprise of the Laksmi, Sun and Moon show that they are adored in Jainism in the form of symbols too. 4.16 Sarsavati: The earliest inscribed image of Sarasvati (fig. 32. J. 24 LM.) assigned to Kusana 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 Sramana 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 Sarasvati with her name in the inscription. 4.17 Srutadevi Sarasvati in Ardhamagadhi Agama Literature: Besides Arhats, the Ardhamagadhi Jaina literature comprises with adoration of 16 Mahavidyas but the Srutadevata is not accredited with the prevails of performing mangala in the beginning. The text sutrakritanga42 and Rsibhasita have mentioned the knowledge (vidya) 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. Kankali, Kali, Mahakali, Camunda etc.44 Even the accepted 16 Mahavidyas are assimilated in 24 yaksis as the protective deities of Jinas, but nowhere Sarasvati or Laksmi is mentioned in a Deva clan. In Bhagavati-sutra first mangala is performed towards Panca-Paramesthi, script Brahmi and Sruta45 - Namo Arihantanam' 'Namo Bambhie Liviye'/ 'Namo Suyassa/'. Here Srutadevata is not indicated. The second mangala is performed in the middle of the sutra (Sataka15) where Srutadevata is worshipped - /Namo Suyadevayae Bhagavai467, but this included afterwards as per scholars as it is not available in its Tika and Vritti. Thus Sarsavati first adored as a Suya/Jinavani (Namo 42 sutrakritanga, 2/2/18 43 Jain S., article on "Srutadevi Sarasvati.." in., Titthayara, July, 2009. 44 B.C. Bhattacarya, Jain Icon.pp 16 fn, Also Vardhamansuri, Acara Dinakara. 45 Jain S., article on "Srutadevi Sarasvati...", pp 200 -210, in Titthayara, (Calcutta, 2009). 46 I) Bhagavatisutra - 9/33/149 and 163. II) Jain S., article on "Srutadevi Sarasvati..." in Tithayara, (Calcutta 2009).

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124 The Jaina Stupa at Mathura: Art & Icons Suyassa), gradually the same Suya is considered as a Srutadevi Bhagavati (Sarasvati) and presiding deity (adhisthayaka deva) for the protection of scriptures. In the end (prasasti) of Bhagavati-sutra, some more gathas are available (c. 5th A.D.) for performing mangala. Here the writer (Laheaya) first adored Guru Gautama svami and next to Bhagavati-sutra (Vyakhya prajnapti) itself then the adoration is shown towards Dvadasa Gaaipitaka. Lastly, Srutadevi is worshipped with all her gunas and prayed to destroy darkness of ignorance. The author requested the Srutadevi 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 Sutra represents Srutadevi 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 (Sruta) in Ardhamagadhi Agama literature by mentioning 'Namo Suya Devayae Bhagavaie'48 Sruta is given sacred place for adoration which gradually converted into Srutadevi and worshipped as a Bhagavati. Jinavani -to - Sruta -to - Bhagavati of Bhagavati-sutra. In the Niryukti and Bhasya literature Sarasvati is not offered the first mangala. The scriptures of Digambara tradition has reference to Srutadevi Sarsvati but this is a later addition49. Kasayapahuda, Satkhandagama, Mulacara, Bhagavati-aradhana, Tiloyapannatti, Pancastikaya-sara and Pravacana-sara also do not mention Srutadevata Sarasvati as part of mangala in the beginning. Even the Tikas of Tatvarthasutra viz. Sarvarthasiddhi, Rajavartika, Sloka-vartika and the Tikas of Satakhandagama viz. 47 kumuya susaMThiyacalaNA amaliya koraTa viTasaMkAsA / suyadevayAbhagavatI mama matitimiraM paNAseu / / viyasiyaaraviMdakarA nAsiyatimirA suyAhiyA devI / majjhaM pi deU me haM buhavibuhaNamaMsiyA NiccaM / / suyadevayAe Namimo jIe pasAeNa sikkhiyaM nANaM / aNNaM pavayaNadevI saMtikarI taM namasAMmi / / - Gathas in the end of Bhagavati-sutra, Jain S. article on "Sarasvati..".Titthayea, July, 2009. 48 Bhagavati-sutra 9/33/149 and 163 49 Jain S., article in Titthayara, 2009, pp 230, 31.

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The gradual development of Deities in Jaina Pantheon 125 Dhavala and Mahabandha50 do not have reference to Sarasvati in the beginningsi. The word Sarasvati occuring at four places in canonical literatureI) The Vyantara class' Indra, Gitarati Gandharva's queen, 'Sarasvati'52. II) "Sarasvati' as a sister of Acarya Kalaka. III) The Vipakasutras3 contains a story of king of Rsabhapura, where a queen's name is Sarasvati. IV) Sarasvati as a river. At above four places 'Sarasvati' is used just simply as a name of individual, but not related to any deity. 4.18 Development of srutadevata/srutadevi: As we have seen Sruta is imagined as a srutadevi in the form of adhisthayaka deva and adored as - Namo Bhagavyai Srutadevtyai. Here 'Namo' comes to show respect and honour towards her. When a group of Sasana-devatas and Vidyadevis were introduced in Jaina deva clan at that time Srutadevi is also imagined for Sruta devata and represented as Sarasvati deity as in Hinduism54. But in Jainism archaeological reference of veneration of Sarasvati image is earlier than scriptural evidences. The Sarasvati image from Kankali Tila, Mathura 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 srutadevi. 4.19 The adoration of Sarsvati in various scriptures: The Vividha-tirtha-kalpa, informs us that in the sixth century A.D. Jinabhadra Ksamasramana arrived at Mathura, saw the deteriorated condition of manuscript of Mahanisitha-sutra and decided to recondition the same. He then meditated on the Sasanadevi at the stupa to get her blessings in rewriting the lost portions. The scripture clearly indicates the Srutadevata 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 Sarasvati 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, Bhagavati-sutra 53 Angasutra - second Sruta-scandha, Vipakasutra,2nd Adhyayana 54 Jain S., An article on Sarasvati, vol. 4, 2009, pp 200 -210.

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126 The Jaina Stupa at Mathura: Art & Icons to bless with her vidya only to Srutadharas who carry Agama tradition, but not to bless any haughty persons. Again in the 8th Adhyayana, 24 Tirthankaras and Tirthas are venerated and then Jinabhadra bowed down to Srutadevi Bhagavati55. Thus for the first time we find Srutadevata in the form of deity. In Pancasaka prakarana, Haribhadrasuri (eight century) included Srutadevata with other Sasana deities - Rohini, Amba, Mandapunyika, Sarvasampada, Sarvasaukhya, Srutadevata, santidevata, Kali, Siddhayika who are nine Devatas in numbers 56. The Tika of this scripture announces a special penance named as Srutadevata austerity (Tapa) wherein the deity is worshipped on every Ekadasi continuously for eleven times practicing fast without uttering a word known as Mauna-vrataS7. According to Pancasaka Bhasya, Srutadevata is a deity of Vyantara class. In Angavijja (2nd cent. A.D.) she is considered as a deity adore as Sri, Megha and Kirti58 In Paumacariam (2nd cent. A.D.) Vimalsuri also refers to her as a deity (3/51). Sarasvati-kalpa composed by Acarya Bappabhattasuri comprises the proper method of her adoration and chanting process of mantras. This kalpa is a stotra prayer of 12 slokas, 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 Gutikas and Yantras also have power to reduce problems and obstacles. Sri Hemcandracarya worshipped the deity with her various names as per her qualities. With the blessings of Sarada he composed three and half crores slokas in many languages on various subjects. 55 ) esA vijjA sidhdaMtiehiM akkharehiM likhiyA esA ya sidhdaMtiyA lIvI amuNiya samaya sabbhAvANaM suyagharehiM NaM na panavejjA taha ya kusIlANaM ca - "namo bhagavatIe suyadevAe sijjhau me suyAhiyA vijjA" - Maha Nishithasutra, gth adhyaya, II) Jain S., an article on Sarasvati, op. cit. 209. 56 rohiNi aMbA taha maMdauNNayA svvsNpysokkhaa| suyasaMtisurA kAlI sidhdAIyA tahA cev|| - Haribhadrasuri, Pancasaka prakarana 57 Pancasaka prakarana and tika. 58 Adyaya 58, pp 223 - Angavijja

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The gradual development of Deities in Jaina Pantheon 127 Mantri Vastupala adored the deity with 108 slokas in which she is addressed with different names. One stavana "Siddha Sarasvata stavana"59 composed by Sadhvi Sivacarya whose period is not known. Jinaprabhasuri had also composed a prayer singing her glory in 17 Gathas. He adored Devi Vak to protect the devotees from all obstacles. The "Suri mantra Aradhanavidhi' of Jinaprabha has described her form along with other mantras. In Abhidhana Rajendra-Kosa, Sruta-devata is explained as Sruta stands for Pravacana where presiding deity is Srutadevata. To comprehend the deity Srutadevata a Gatha from Pancasamgrah is presented by Rajendra Suri60. 4.20 The comparison of the three images of deities with their inscriptions: Here three images of deities available from Kankali Tila are compared, Sarasvati (J. 24 LM. fig. 32), Aryavati (fig. 33) and Vidya (fig. 100). The last two of them have inscriptions invoking with the words 'Namo Arhato Vadhamanas and Siddham' respectively so these both and inclusive of Sarasvati, all three are of Jaina pantheon without any doubts. The deities Aryavati and Vidya stand in similar position. One of their arms is in varada and the second is resting on their respective waists. Aryavati's Ayagapatta is donated by Amohini for the adoration, established in Ksatrapa period prior to Kusana era, the second is of Kanha Sramana where name Vidya is chiselled near her (deity's) face. Though on both sculptures the word Ayagapatta or Silapatta do not occur but the characteristics of them are matched. Here we shall discuss whether both these deities represent the same Suyadevaya Sarasavati cult or not? Up till now it was difficult to recognise the deity Aryavati as there is not much mention of her in the scriptures. The name Arya / Ajja 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, Siva, Vaisramana, Naga, Bhuta, Yaksa, Ajja and Kotakiriya. He even quoted from Bhagavati-sutra that the 59 Jain S., article on Sarasvati.., op.cit. 200-210. 60 Gagas, muita er tesiM khaveu sayayaM, jesiM suyasAyare bhattI / / - 31747911 5010

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128 The Jaina Stupa at Mathura: Art & Icons Gautom Svami is requested to bow-down to some of the deities while passing their shrines which included Arya / Ajja too (pp. 346, 347). The above Ayagapatta of Aryavati and Kanha Sramana-Vidya inform us that they were recognised as a subject of worship as a deity. The deity Aryavati first appeared in Ksatrapa 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 Sarasvati's first image established in the year 54 of Kusana 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 Sarasvati, the gift of the goldsmith Gova, son of Simha (made) at the instance of the Vacaka (preacher) Arya-Deva, the Sraddhacaro of the Ganin Acarya Maghahasti, the disciple of the preacher Arya Hastahasti (or Nagahasti) from the Kottiya gana, the Sthaniya kula, the Vaira sakha and the Srigraha Sambhogas has been setup at Ranga mandapa for the welfare of all beings." The second sculpture is established by Amohini for worshiping the deity Aryavati, this is the oldest available inscribed sculpture from Kankali Tila. In this Ayagapatta, Aryavati is standing in a centre. One cavardhari 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 Ayagapatta is decorated with beautiful vandanvara like Bharhut sculptures. Now in the third sculpture of Kanha Sramana the deity Vidya is standing in varada mudra. The deity has turned her dupatta around her left hand in very stylistic manner like Aryavati. This sculpture of Kanha Aramana is in two registers, the upper contains a stupa in between the two pairs of Tirthankaras wearing crowns. The lower larger register has a depiction of a deity as described above with the name Vidya, the Jaina Sramana holds a rajoharana & a mukhavastrika, a Sravaka 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 'Vidya' is engraved near the deity while "Kanha' is near sramana showing that he is Arya Kanha.

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The gradual development of Deities in Jaina Pantheon On seeing these deities, one question arises, are these three deities Aryavati, 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. Mahavidya, 2. Mahavani, 3. Mahabharati, 4. Arya, 5. Sarasvati, 6. Brahmi, 7.Mahadhenu, 8. Vedagarbha, 9. Isvari, 10, Mahalaksmi, 11. Mahakali, 12. MahaSarasvati. 129 From above Stotra it appears that in ancient times Sarasvati was known by above twelve forms comprising Vidya (Mahavidya) and Aryavati (Arya). Besides, many Prakrita stotras are in Arya Chanda so one can say that the Arya was related with right knowledge i.e. Sruta / Jinawani so synonyms of Sarasvati is Suyadevaya. All these theories lead us to conclude that two deities Aryavati and Vidya carved on Ayagapatas (fig. 33, 100) available in blessing mudra 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 atha dvAdaza sarasvatI svarupANi (devatAmUrti prakaraNam ) ekavaktrA: caturbhujA mukuTena virAjitAH prabhAmaMDalasaMyuktAH kuMDalAnvitazekharAH / / 1 / / iti sarasvatI lakSaNAni akSa padma vINA pustakakairmahAvidyA prakIrtitA / iti mahAvidyA 1 akSa pustaka vINA padma: mahAvANI ca nAmataH / iti mahAvANI 2 varAkSAM padmapustake zubhAvahA ca bhAratI / iti bhAratI 3 varAkSapadma pustakaiH sarasvatI prakIrtitA / / 3 / / iti sarasvatI 4 varAkSaM pustakaM padmaM AryAnAma prakIrtitA / / ityAryA 5 vara pustakapadmAkSa- brAhmI nAma sukhAvahA / / 6 / / iti brAhmI 6 vara padma vINA pustakaiH mahAdhenuzca nAmataH / iti mahAdhenuH 7 varaM ca pustakaM vINA vedagarbhA tathAmbujam / / 5 / / iti vedagarbhA 8 akSaM tathA'bhayaM padmapustakairIzvarI bhavet / / iti IzvarI 9 akSaM padmaM varagraMthau mahAlakSmostu dhAriNI / / iti mahAlakSmI 10 akSaM padmaM pustakaM ca mahAkAlyA varaM tathA / iti mahAkAlI 11 akSaM pustakaM vINAzca padmaM mahAsarasvatI / / 7 iti mahAsarasvatI 12 iti dvAdaza sarasvatIsvarupANi ( jayamate) by Pranava Shankara Sompura Dwadasa Sarasvati Swarupani, from Devata Murti Prakaranam of 'Bharatiya Silpa Samhita'.

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130 The Jaina Stupa at Mathura: Art & Icons 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 Akota now in Baroda museum. She holds a roll of manuscript and lotus stalk in hands. The Akota bronzes were established on the request by Ksamasramana Jinabhadra. They are of transitional period between Gupta and early medieval. One metal image from Murtajapur, 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 lalitasana on a lotus seat. The four and more armed variety of Sarsvati 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. Umata 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 Ladanun 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 Vidyadevi and a river goddess, that are also very beautiful; assigned to same period. These are very good examples of separate adoration of deity Sarasvati. The power of deity is also concentrated in the yantras by acaryas for providing benefits to adorants. Her painting on palm leaf or on wooden covering of manuscripts could be seen in many grantha bhandaras at Patan, Amadavad, Chani 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 Mathura Mathura contributes a series of artefacts unearthed from Kankali Tila, comprising of images, ayagapatas, railing pillars. salabhanjikas, door lintels, door jambs, toranas, ornamental bosses, blocks narrating life incidents of Jinas, etc. 5.1 Ayagapalas: The superbly carved ayagapatas represent Jaina symbols and philosophy illustrating the ancient system of adoration. In total 27 ayagapatas were found from Mathura, inclusive of one each from Kosam and Ahicchatra similar to those from Kankali Tila. On palaeographic and aesthetic ground most of them are accredited from early Ksatrapa to late Sakal (Kusana) year. They carried inscriptions of donors in Prakrit language and Brahmi script serving information of the date of establishment with other details. The word Ayagapata or Silapata is provided in the inscription itself. Since such sculptures were put up in shrines for the worship of Arhats, Dr. Buhler furnished the word 'Ayagapata' 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 Ayagapatta as an item in the repertorie of religious devotees was peculiar to the early Jainas... From the point of view of art, the Ayagapattas from Mathura rank amongst some of the most beautiful specimens of the Mathura 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 Tirthankara 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 Ayagapattas"3. He also remarked that they were installed on high platform in stupa 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., "Mathura Ayagapata', in J.U.P.H.S., vol. XVI, pp. 59-60 and pls. I-II.

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132 The Jaina Stupa at Mathura: Art & Icons 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/moksa. The Ayagapata is the union of two words ayaga and pata where ayaga stands for sacred as we have seen, and pata for a slab made of stone, cloth, clay or any such material which can either depict or paint. The said word Ayaka or Ayaga is derived from 'Aryaka' stands for honourable or worthy of reverence and were more popular at Mathura with Jaina community fixed at low height in or around the shrines. The carving of sacred symbols and Jinas made them 'Aryaka' - worthy of reverence. Therefore it came to be valued as a tablet of homage adopting the local name Ayagapata. The 'Ayaka' word is also noticed on three pillars at Jaggay peta, at the site of ancient Buddhist stupa, excavated by Dr. Burges in 1882. Each has a dedicatory inscription in Prakrit recording the gift of five ayaka khambas at the eastern gate of the great caitya. Here also the word ayaka stands for sacred. At Nagarjunekonda seventeen inscribed ayaka 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 ayakapatas or ayaka pillars were not the part of the building structure6. Thus ayaka pillars were carrying important inscriptions of donors while ayagapatas were depicted with marvellous carving and philosophy using the symbols which when deciphered, convey its message within. 5.2 Ayagapatas in the Scriptures: In Angavijja the author has provided some list of names like parvata (mountain), sagara (occen), medini (earth), caitya (shrine) and ayaga worthy of worship. Joshi N. P. holds that like a caitya, ayaga 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., 'Mathura Ayagapata.', 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 Mathura" pp 333, in, 'The cultural Heritage' ed., Doris & Shrinivasan, AIIS, 1989. 6 7

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The other Excavated Artefacts of Mathura 133 from Valmiki Ramayana- "The bow in the house of king Janaka had become an ayaga (ayaga bhutam) or an object of veneration and received incense, sandal paste, and other fragrant objects as offering"8. In Vasudeva-hindi, Aupapatika-sutra and its Tika by Abhayadevasuri the word Sumanasila or Pudhavi-silapata used to describe worship of Sumana Yaksa under an Asoka-vrksa'. 5.3 The Classification of Ayagapalas: To grasp their deep coherence, ayagapatas 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 Ayagapatas10 offer the depiction of stupa for adoration as sacred shrines. In the Ayagapata of Lonasobhika (fig. 41) the stupa 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 stupa in a central medallionll. The Ayagapata of Sivayasa (fig. 109) comprises of a beautiful stupa as the main theme for adoration. Besides, in the sculpture of Kanha Sramana (fig. 100), the stupa is flanked by two Jinas in upper register, strengthened the system of veneration of Jinas and stupa at Mathura. B. In the second group, a Jina is shown sitting, under the caitya-vrksa at the centre, sometimes flanked by flywhisk holders or by ganadharas. Yaksa-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 Ayagapata (48.3426 MM. fig. 105) is a very good example of symbol worship. Here a caitya tree, srivatsa, 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 Mathura", 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, (Mathura, Govern. Museum, 2003) pl. 20.

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134 The Jaina Stupa at Mathura: Art & Icons The Ayagapata of deity Aryavati12 (fig. 33) set up by Amohini for veneration is assigned to Mahaksatrapa Sodasa's period. Another deity Vidya is adored on the Ayagapata of Kanha Aramana, displaying her like Aryavati, but with a sadhu named kanha, a sadhvi 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 nandipadas are caved along with the common circle of Jina forming three jewels. All the inscriptions on ayagapatas commence with the adoration to Arhats (Namo Arahantanam). Such pattas of sacred places like Satrunjay, Ranakapur, Giranar etc. could be seen at the eye level on the walls in present Jaina shrines. They might be the changed form of ayagapatas as they are carved only for seeing (darsana) 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 Ayagapatas (1 to 22) : 1) Amohini's Ayagapata for veneration of deity Aryavati (fig. 33): Here the deity Aryavati 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 (vandanvaras) are hanging on top of the Ayagapata 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 Silapata 12 Accn. no. J. 1 LM.

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The other Excavated Artefacts of Mathura 135 2) Famous Ayagapata of Lonasobhikal3 (fig. 41) : This Ayagapata 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 Mathura. A photograph of the same is published in the book 14 where the Ayagapata was shown with Salabhanjika 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 Salabhanjikas (J 63 and J 64 MM) flanked the same. This Ayagapata covers a carving of a complete stupa with all details, setup by Vasu, the daughter of Lonasobhika. Here the inscription is engraved between the two vedikas. The stupa is surrounded by a railing while the entrance has beautiful ornamental torana over the flights of the steps. The stupa 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 stupa. 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 Salabhanjikas are shown leaning in a graceful attitude against the stupa 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 Kubera?) as referred in Vvidha-tirtha-kalpa. At the right side a standing male seems to be a Ksetrapala 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 Kusana period) of Ksetrapala with Jina on the head 13 Q 2 MM., (ht- 2 ft 4 inch, width 1ft 9.75 in.) : Smith, Jain Stupa 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 Mathura, p. 93. pl. vb., Coomarswami, HIIA, pp 72, pl. 19. 14 Smith, Jain Stupa.. of Mathura.., 2nd edi. Pl. CIII. 15 I) Ibid, pp. 61. Pl. CIII. II) 'A legend of the Jaina Stupa at Mathura' Sitzungaborahte dar Kala Akademia dar Wissonschin, hand CXXXVII.

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136 The Jaina Stupa at Mathura: Art & Icons is found from Mathura in 1961 A.D. (fig. 23) shows the popularity of such a deity and its separate cult of adoration in Jainism. 3) Ayagapata set up by Sivayasa (fig. 109, J. 255 LM.) : This tablet, though partly mutilated gives a better view of Jaina stupa with adorned gateway. The two railings round the circumambulatory passage, beautiful Salabhanjikas and two posts flanked the stupa dome. A large wreath which hangs from the torana gateway is flower decoration called 'vandanvara'. It has no niches on either side of the stupa entrance like the Ayagapata of Lonasobhika. 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 Bharhut stupa, dated in the reign of the Sunga, or about 150 B.C."16 Buhler also agreed about its archaic character. 4) Ayagapata of Sivaghosaka (fig. 106, J. 253 LM.) : This Ayagapata represents Parsvanatha in the centre adored by two standing monks (or ganadharas). He is sitting in padmasana on a raised dais under a caitya tree. The centre ring is surrounded by a large circle having four pairs of nandipada. 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 Kusana era. The four corners are designed vividly. The right lower corner presents a symbol of srivatsa, 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 Ayagapata, a century before the Christian era due to its linguistic and palaeographical peculiarities and vine border?? 5) Ayagapata of a Wheel (fig. 108, J. 248 LM.) : This tablet of homage is gifted by an inhabitant of Mathura 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 Stupa..of Mathura ... preface, 1901. 17 Ibid., pp 17, pl. X.

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The other Excavated Artefacts of Mathura 137 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 srivatsa 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 Mathura School. Smith V. describes the Hellenistic influence on Ayagapata 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 yaksis 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) Ayagapata set up by Sihanadika (fig. 110, J. 249 NM. Delhi) : This tablet is a representation of fine workmanship of Kusana, 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 (nandipada) 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?), srivatsa, and a powder box as well as three jewels, full blown lotus, bhadrasana and an auspicious vase respectively. This is the oldest known representation of astamangalas of Jainas. The side posts are typical Persian Achaemenian style. The family of Simhanadika was a Vanika as per the inscription. 7) Ayagapata 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 Stupa..of Mathura, preface, pp-5. 19 I) Shah U.P., SJA, fig. 10., II) Smith V., Jaina Stupa.. of Mathura, pl XI, pp 18.

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138 The Jaina Stupa at Mathura: Art & Icons a sacred tree (caitya-vrksa). A central circle covering the Jina is common as usual, to form three jewels with the help of nandipada. The gap between these nandipadas are adorned with srivatsa 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 - srivatsa, (with a ring in upper part), svastika with closed petals, vardhamanaka, 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 kalasa with a handle, a pot filled with jewels, bhadrasana and three jewels. Thus in this Ayagapata one can view 14 auspicious symbols. 8) Ayagapata of Svastika (fig. 107, J. 250 LM.) : The Ayagapata 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 stupa, 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, srivatsa, usual svastika and a bhadrasana are embodied in centre's enormous ornamental svastika. At the centre a Jina sitting in a padmasana under a caitya tree surrounded by four nandipadas (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 moksa.20 The extreme lower side of the tablet is occupied with eight auspicious symbols - lotus bud (as seen in the Ayagapata of Bhadranandi) water jar with handle, lotus flower, three jewels, srivatsa, 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 bhadrasana, a pair of fish, srivatsa and svastika between the hands adding charm to the Ayagapata. yaksa-yaksi pairs are supporting the wheel at four corners. 20 Right knowledge Right perception and Right conduct together lead to salvation. - Tattvartha sutra.

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The other Excavated Artefacts of Mathura 139 9) Ayagapata from Bareli/Ahicchatra21 (J. 686 LM.) : This Ayagapata comprises with a grape creeper running on its four sides. The centre part is empty beyond recognition. 10) Ayagapata with symbols and Jina worship: (fig. 105, 48. 3426 MM.) This beautiful half portion of Ayagapata 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 usnisa 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, caityavsksa and srivatsa established on the thrones to the left, right and upper side of the Ayagapata. 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 yaksa and a yaksi are supporting the whole divine semicircles. On many ayagapatas 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 Ayagapalas: 11) Ayagapata, 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)ayagapata, accn. no. J.260 LM.: This fragment of an Ayagapata comprises with auspicious objects on its sides. 21 Rastogi, Lucknow Jaina Pratimaen...., pl. no. 4, fig. 3.

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140 The Jaina Stupa at Mathura: Art & Icons 13) Ayagapata accn. no. J.247, Shimla Museum: The fragment has winged lions depicted on sides having a part of svastika. 14) Ayagapata, accn. no. 35.2563: A fragment contains floral svastika in the central part, with simple sides having flower in a corner. 15)Ayagapata, accn. no. 20.21.1603 MM: This inscribed fragment has a stupa 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 srivatsa on top. The inscription on top border reads- "Vihare Kottiyato ganato thanikiyato kula (to) sa (khato)"22 16) Ayagapata of Bhadrasana (fig. 113. J.256 LM.) : The slab was found in 1887 by Burges from K. T, The inscription is in archaic characters anterior to Kusana, as suggested by V. Smith23. Here auspicious object bhadrasana is worshipped with a fish in the centre, the inscription is engraved on left side "... Gotiputra..". 17) Ayagapata, 24 accn.no. 33.2313 MM. The available fragment of an Ayagapata carved on obverse too with a Ashoka foliage and an inscription (silapato Arhato pu...) 18) A quarter fragment of an Ayagapata: It is in Francis Hopp Museum, Budapest. Here a Jina is sitting, under a parasol, besides there is no srivatsa mark on his chest. The three auspicious symbols srivatsa, Vardhamana.ka and triratna could be easily recognized. 19) An inscribed fragment of an Ayagapata: The outer border containing a conch, bull, winged lion, elephant etc., now in Patna Museum. 20) Fragment of an Ayagapata J.262 LM. : Here a side is decorated with auspicious objects bhadrasana, triratna and srivatsa with floral design at the centre. 22 Catelogue of Jaina Antiqity of Mathura, (Government Museum, Mathura, 2003). pp. 68, pl. 20. 23 Smith V., Jaina Stupa.. of Mathura..... 1900, pp 20, pl XIII 24 Catalogue of Jaina Antiquity of Mathura, 2003, op.cit., pp 69.

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The other Excavated Artefacts of Mathura 141 21) Ayagapata accn. no. J.264 LM. This is a fragment of svastika. Its outer ring holds the adorant yaksis same as in the Ayagapata of svastika. 22) Ayagapata accn. no. J. 254 LM. It has a record of installation of Vardhamana pratima. 23) Ayagapata accn. no. J.618 LM.: This fragment shows sankha-nidhi and winged animal. 5.5 Railing Pillars: The railing pillars with female figures of Mathura School are most cheerful, elegant and charming depicting day to day life activities of Indian female. The explorations at K. T. Mathura, 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 toranas belonged to two Jain stupas, one existed in early Sunga age and another was present in Kusana 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 Mathura is more related to Bharhut than to Sanchi recognised by some fragmentary-sculptures of the second century B.C.25. Though not a single complete stupa was found at Mathura but from the available toranas, and railing pillars at Mathura one can judge that they were Jaina and Buddhist stupa 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 stupas of Bharhut, Sanchi (stupa II) and Bodhagaya and at Jaina stupa at Mathura (Kankali Tila) are the fine example of the art26. The female figures carved on the railing pillars are the finest creations of the Mathura 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, Mathura Railing..., 1966., pp 2

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142 The Jaina Stupa at Mathura: Art & Icons 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 (zarokha) is displayed. These women introduced as salabhanjikas 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 Kankali Tila wears long skirt having twelve different embroideries, with fine cut work, and a full sleeved blouse (fig. 8). The Concept of Salabhanjika: The Salabhanjika 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 toranas of stupa. 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 Mathura art. 5.7 Definition: As per Sanskrit lexicon the meaning of Salabhanjika is 'a statue' or 'a putali'. The term Salabhanjika originally expressed a woman standing under a blossoming Sala tree for plucking and gathering Sala flowers (Votica Robusta, fig. 114). Thus 'Sala' stands for a branch of the tree while 'bhanjika' stands for her act of bending it. Dr. Coomarswami analysed the term Salabhanjikas (from Bharhut, Bodhagaya, Sanci, Mathura and Amaravati) and interpreted that female figures associated with trees are voluptuous beauties, almost nude, but always provided with the broad jewelled belt (mekhala) which appears already on the pre Maurya terracotta figures of fertility goddesses. Sometimes these dryads stand on a vehicle such as a yaksa, 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 other Excavated Artefacts of Mathura 143 the branch or simply shown with creeper over them, they are related to Bharhut 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 Salbhanjika described in Buddhist literature 29 as the women plucking or gathering flowers at the festivals. Salabhanjika in Rayapaseniyam-sutra: According to Rayapaseniyam-sutra, the doors of the vimana of Suryabhadeva is flanked with sixteen Salabhanjikas 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 Raypasaniyamsutra, he compares them with railings and toranas of stupa at Mathura, Bharhut, Bodhagaya and Sanchi. 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 Kusana Art of Mathura such a loving subject in the eyes of modern critics31." 28 Rgveda (IX. 5.5). 29 Nidankatha and Avadansataka no. 53. 30 D tesi NaM dArANaM ubhao pAse duhao NisIhiyAe solasa solasa sAlabhaMjiyAparivADIo pannattAo, tAo NaM sAlabhaMjiyAo lIlaTThiyAo, supaiTThiyAo, sualaMkiyAo, NANAviharAgavasaNAo, NANAmallapiNaddhAo, muTThigijjhasumajjhAo, Amelagajamalajuyala - vaTTiya-abbhunnaya pINaraiyasaMThiyapI varapaoharAo, rattAvaMgAo, asiyakesIo, miuvisayapasattha - lakkhaNasaMvelliyagga- sirayAo IsiM asogavarapAyavasamuTThiyAo vAmahatthaggahiyaggasAlAo IsiM addhacchikaDakkhaciTThieNaM lUsamANIo viva cakkhulloyaNalesehi ya annamannaM khijjamANIo viva puDhavipariNAmAo, sAsayabhAvamuvagayAo, candANa NAo,candavilAsiNIo, candaddhasamaNiDAlAo, caMdAhiyasomadaMsaNAo, ukkA viva ujjovemANAo, vi jjughaNamiriyasUradippaMtateyaahiyayarasannikAsAo siMgArAgAracAruvesAo pAsAiyAo jAva (darisaNijjAo abhirUvAo paDirUvAo) citttthti| - Gatha, 126, Raypaseniyasutta, pp 66-67. II) Agrawal P. k., Mathura Railing Pillars. 1966., pp. 6. 31 Agrawal P. K., ibid., pp 6.

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144 The Jaina Stupa at Mathura: Art & Icons 5.9 Elucidation: The Salabhanjika woman displayed under the tree is usually Asoka, Mango or Sala, where she sometimes holds the branch of a tree with left hand. In the two different sculptures from Bharhut 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 Salabhanjika originally denoted not only the festival of Sala flower gathering but also the woman who took part in it. Such figures which are first met with on the toranas of the Stupas of Bharhut, are especially frequent on the railing pillars of Mathura. May we not assume that to these pillar figures the term Salabhanjika was applied? It is true that the trees under which these figures are placed, do not appear to be invariably meant to render the Sala tree. But it is quite natural that the Salabhanjika, the women breaking the Sala 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 Salabhanjika for a sportive woman who engaged herself in various pastime as shown in the art. On the railing pillars at Mathura, the women were carved engaged in their routine activities by the carvers. On the two Ayagapatas setup by Lonasobhika and Sivayasa, salabhanjikas are shown taking support of the stupa 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 Salabhanjika in Indian Literature & Art". Acta Orientalia, vol.-VII, pp. 201- 231. II) P.K.Agrawal - Mathura Railing Pillars.., 1966, pp. 10-11. 34 Smith, Jaina Stupa ...of Mathura... Pl. LXII.

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The other Excavated Artefacts of Mathura 145 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-tirtha-kalpa a deity Kubera who was 'Naravahana' (the man as a mount) guarded the stupa. Another railing pillar36 has similar type of carving therefore they might be the guardians of stupa. 5.10 The adopted Theme of Salabhanjika in Sculptures: Some of the best salabhanjikas excavated from Mathura 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 Salabhanjika figures are available on the entrance of gopurams and side walls of the shrines. 5.11 Evolution of salabhanjika: The motif of Salabhanjikas 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 stupa railings, toranas and shrines. The description of yana-vimana of Suryabhadeva is amazing. At the centre of the yana one huge Preksagrha was prepared, where the door is flanked by sixteen upright pillars with the depiction of Salabhanjika females. The symbolic representation of them at the entrance of the stupa is available on two Ayagapatas (fig. 41, 109.). Later on the theme of Salabhanjika, 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 sringara-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 Stupa with Yana in Rayapaseniyam-sutra: If one excludes the imaginary measurement of length and breadth of Yana-vimana of Suryabhdeva in Rayapaseniyam sutra, it appears to be 35 Smith, Jaina Stupa ...of Mathura.., pl. LXI 36 Ibid, pl. LX

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146 The Jaina Stupa at Mathura: Art & Icons the model of a stupa at Mathura. Art specimens obtained from Kankali Tila looked similar to objects of adornment in the main hall (Preksagrha) d outer wall of the Yana-vimana of Suryabhdeva. This second Upanga (Agama-sutra) describes the minutest detail of constructing the centre part of vimana - preksagriha of yana. It is in two parts. The first part of the sutra, is the story of Suryabhadeva who arrived at Amalakappa city in his yana to adore Mahavira. The second part covers the conversation between king Pradesi and Kesi sramana of Parsvanatha 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 Suryabhadeva at-Saudharma-devaloka. When Suryabhadeva, with his clairvoyance knowledge came to know that Mahavira arrived at Ambasala caitya in the outskirt of Amalakappa city, he adored the Jina from his abode in Saudharma devaloka heaven and ordered his subordinates to prepare an artistic yana vimana to reach at the resting place of Mahavira. The given narration of vimana is most wonderful and incomparable example of a building structure. Dr. Shah U. P. noted, "The same heavenly car i.e. yana vimana is the eyewitness account of the Jaina stupa existed during Kusana period as suggested by some scholars"38. The yana was made ready by assistant deities as instructed by Suryabhadeva. 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 Astmangalas, 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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The other Excavated Artefacts of Mathura 147 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 Kankali Tila41. Suryabhadeva commanded to create a vimana having many posts and the attractive carving of Salbhanjika, Ihamrga, bull, man, alligator, bird, snake, celestial beings, variety of antelopes, cow, elephant, creeper etc. on outer wall of the Yana. The upper parts of the rail posts were engraved with vedikas (railings or balconies) where a couple of Vidyadharas could be seen as they themselves are driving the yana42. The described objects of outer wall of vimana could be seen on ornamental bosses, rail posts and other excavated material from the site Kankali Tila. This sutra comprises the description of yana-vimana chiefly at three placesi) When Suryabhadeva instructs assistant deities to keep ready the yana-vimana, ii) What subordinate deva constructed and iii) The magnificent look of yana, ready to take off for paying divine honours to Mahavira. 40 127 - tesi NaM dArANaM ubhao pAse duhao NisIhiyAe solasa solasa jAlakaDagaparivaDIo pannattA, te NaM jAlakaDagA savvarayaNAmayA acchA jAva paDirUvA / 128- tesi NaM dArANaM ubhao pAse duhao nisIhiyAe solasa solasa ghaMTAparivADIo pannattA, tAsi NaM ghaMTANaM imeyAruve vanAvAse pannate. 132 - tesiM NaM dArANaM ubhao pAse solasa solasa toraNA pannatA, NANAmaNimayA NANAmaNimaesu khaMbhesu uvaNiviTThasanniviTThA jAva pum-htthgaa| stUpa - varNana 166 - tesiM NaM pecchAgharamaMDavANaM purao patteyaM-patteyaM maNipeDhiyAo pnnnnttaao| tAo NaM maNipeDhiyAto solasa-solasa joyaNAI AyAmavikkhaMbheNaM, aTTa joyaNAI bAhalleNaM, savvamaNiIo acchAo pddiruuvaao| tesiM NaM thUbhANaM uvariM aTuTTha maMgalagA, jhayA chattAtichattA jAva sahassapattahatthayA / tesiM NaM thUbhANaM patteyaM-patteyaM cauddisiM maNi-peDhiyAto paNNattAo / tAo NaM maNipeDhiyAto aTTa joyaNAI AyAmavikhaMbheNaM, cattAri joyaNAI bAhalleNaM, savvamaNi-maIo acchAo jAva paDirUvAto / - Rayapasaniya sutta 41 V.Smith, Jaina stupa ....at Mathura..., PI., LXXXIII, XLIII 42 23 - khippAmeva bho ! devaannuppiyaa| aNegakhambhasayasaMniviTTha lIlaTThiyasAlabhaMjiyAgaM, IhAmiya-usabha turaga-nara-magara-vihaga-vAlaga-kiMnara-rUrU-sarabha.camara-kuJjara-vaNalaya-paumalaya-bhatticittaM, khaMbhuggayavairaveiyAparigayAbhirAmaM vijjAharajamalajuyalajaMtajuttaMpiva accIsahassamAlaNIyaM rUvagasahassakaliyaM bhisamANaM bhibbhisamANaM cakkhulloyaNalesaM suhaphAsaM sassirIyaruvaM ghaNTAvalicaliyamahUramaNaharasaraM suhaMkantaM darisaNijjaM NiuNauciyabhisibhisiMtamaNirayaNaghaNTiyAjAlaparikkhittaM joyaNasayasahassavitthiNNaM divvaM gamaNasajjaM sigghagamaNaM NAma jANavimANaM viuvvAhi, viuvvittA khippAmeva eyamANattiyaM paccappiNAhi / / - Rayapasaniya sutta

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148 The Jaina Stupa at Mathura: Art & Icons The directions given for preparing vimana isn't wide, in comparison of its ready position to take off. The procession feature, distribution of seats (Bhadrasanas) for deities are also well arranged43. The hall was constructed with many simhasanas 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 yana was adorned with a pair of nagadantas/elephant tusk (elephant also calls naga). The series of silver bowls were suspended with scented sticks, bunch of flowers etc. on nagadanta 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 Mahavira and his Ganadharas are described in detail. Execution of some of the dance postures are-available on Mathura sculptures. Suryabhadeva with his deva retinue reached at Mahavira's resting place. They bowed down their heads and adored him. Suryabha produced some musical instruments with his power & commands deva clan to perform the dance with their movement. Accordingly they formed viz. svastika, srivatsa, vardhamanaka etc. eight auspicious symbols. The symbol svastika is clearly 43 49- tassa NaM sIhAsaNassa uvari ettha NaM mahegaM vijayadusaM viuvvati,saMkha-kuMda-dagaraya- amaya- mahiyapheNapuMja -saMnigAsaM savvarayaNAmayaM acchaM saNDaM pAsAdIyaM darisaNijjaM abhiruvaM paDiruvaM / 50- tassa NaM sIhAsaNassa uvariM vijayadusassa ya bahumajjhadesabhAge ettha NaM mahaM egaM vayarAmayaM aMkusaM viuvvati / - Rayapasaniya sutta 44 125- tesi NaM NAgadaMtANAM uvari annAo solasa-solasa nAgadaMtaparivADIo pannatA,... samANAuso ! tesu NaM NAgadaMtaesu bahave rayayAmayA sikkagA pannatA tesu NaM rayayAmaesu sikkaesu bahave veruliyAmaIo dhUvaghaDIo paNNattAo, tAo NaM dhUvaghaDIo kAlAgurupavarakuMdurUkkaturukkadhUvamaghamaghaMtagaMdhudhuyAbhirAmAo sugaMdhavaragaMdhiyAto gaMdhavaTTibhUyAo orAleNaM maNuNNeNaM maNahareNaM ghANamaNaNivvuikareNaM gaMdheNaM te padese savvao samaMtA ApUremANA ApUremANA jAva (sirIe atIva atIva uvasobhemANA uvasobhemANA) ciTThati / A pair of suspnded Nagadanta/ elephant tusk could be seen on V. Smih, Jaina Stupa... at Mathura, pl. LXXXIII. 45 127 - tesiNaM dArANaM ubhao pAse duhao NisIhiyAe solasa solasa jAlakaDagaparivaDaoi pannattA, te NaM jAlakaDagA savvarayaNAmayA acchA jAva paDirUvA / 128- tesi NaM dArANaM ubhao pAse duhao nisIhiyAe solasa solasa ghaMTAparivADIo pannattA, tAsi NaM ghaMTANaM imeyAruve vannAvAse pannatte. 132 - tesiM NaM dArANaM ubhao pAse solasa solasa toraNA pannattA, NANAmaNimayA NANAmaNimaesu khaMbhesu uvaNiviTThasanniviTThA jAva pum-htthgaa| - Rayapasaniya sutta

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The other Excavated Artefacts of Mathura 149 visible at corner of the lower band of a torana46 available from Kankali Tila. Here svastika is formed by a couple with curvature of their movements. One of the Ayagapata of svastika comprises a srivatsa 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 Srivatsa, 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 Mahavira. 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, parinirvana and the scene of attainment of moksa. 52 After exhibiting vivid dramatization, Suryabhadeva and his deity clan adored Mahavira 46 V. Smith, Jaina stupa... pl. XIX, obverse and reverse. 47 Ibid. 48 Rayapasenium, preface, pp-24, 25. 49 Ibid, sloke 101, pp. 55. 50 102- 3781291ayeta z7, 31a4e1a9a 77, iqumaya a, laulaya at, pallavapallava ca NAmaM uvadaMseMti / 51 V. Smith, op.cit. pl- XIX. 52 106- tae NaM te bahave devakumArA ya devakumArIo ya samaNassa bhagavao mahAvIrassa puvva-bhavacariyaNibaddhaM 7, queefufua 7, saMharaNacariyanibaddhaM ca, jammaNacariyanibaddhaM ca, abhiseacariyanibaddhaM ca, bAlabhAvacariyanibaddhaM ca, jIvvaNa-cariyanibaddhaM ca, kAmabhogacariyanibaddhaM ca, nikkhamaNa-cariyanibaddhaM ca, tavacaraNacariyanibaddhaM ca, NANuppAyacariya-nibaddhaM ca, titthapavattaNa-cariya-parinivvANacariyanibaddhaM ca, carimacariyanibaddhaM ca NAmaM divvaM NaTTavihiM uvadaMseti / - Rayapasaniya sutta

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150 The Jaina Stupa at Mathura: Art & Icons and returned to their abode. As per 'Malayagiri tika' of Raypasaniyammsutra, such drama dances were referred in fourteenth 'Purva' under the name of "Natyavidhi'.53 Regarding some of the ornamental circular objects found from Kankali Tila, Smith revealed that they are unusual. A conch54 is the emblem of Neminatha (22nd Jina), while the elephants5s, a goose56, antelopes and bull57 are the emblems of Ajitnatha (2nd Jina), Sumatinatha (5th Jina) and "antinatha (16th Jina) and Rsabhanatha (1st Jina) respectively. 5.13 Toranas: The very interesting sculpture (fig. 59) of a torana 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 stupa with caityaveksa 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 Tirthankara image is carried in a Rathayatra, here people adored the Jinas, and deities in groups and offer coconut, rice and sweets. Another torana now housed in Lucknow Museum (fig. 101, 102) also obtained from the Kankali Tila is discussed in the chapter of deities. 53 Madhukar muni, Rayapasenium, preface. 54 Smith V., Jaina Stupa at Mathura...,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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The other Excavated Artefacts of Mathura 151 One Torana beam showing stupa 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 stupa 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 Mathura while explaining the life incidents of great persons. There are so many sculptures excavated from Kankali Tila comprehending the carving of various stories of Avasyaka-niryukti, Acaranga-sutra, Raypasaniyam-sutra 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 Kankali Tila: The similarity in depiction of Jaina and Buddha reliefs by artists of Mathura, 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 Panca kalyanaka of Jinas (descent of jiva from heaven to mother's womb, birth, renunciation, Kevalajnana and Nirvana). These also include the cause for renunciation of the world, transfer of Mahavira's embryo, demanding permission for renunciation, Mahavira performing austerity in palace before accepting monkhood i.e. image of Jivantsvami etc. The description of such depiction is available in Raypasaniyam-sutra 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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152 The Jaina Stupa at Mathura: Art & Icons was having a horse ride, Bodhisatva, etc. are available from Mathura. In the same manner the sculpture of Rsabhanatha's renunciation after seeing the dance of Nilanjana (fig. 13) obtained from Kankali Tila. Such depictions are exhibited in the form of paintings and murals in many shrines till today viz-Vardhamana wanted to be an ascetic after the death of parents and seeking permission from brother Nandivardhana. In a relief60 from the site Kankali Tila, Vardhamana 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 Mahavira. 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 Vardhamana. But this chief personality is Vardhamana, as described in Kalpasutra 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 srivatsa, symbol in Pendant which comes on his chest. Therefore he might be the image of, Vardhamana, though, in Lucknow Museum, it is labelled as Buddha. One of the images, 62 labelled by Dr. Fuhrer as a "sculptured panel representing "Vardhamana 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 padmasana on a tri linear seat wearing a lower linen and necklace. His hands are stretched maximum like early Kusana 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 Vidyunmali Indras adoring him with folded hands. On the top of upper register, four deities are worshipping the seated personality. As per Acaranga-sutra, when Vardhamana wanted to 60 Smith V., Jaina Stupa at Mathura...pl. XVII. 61 B. 12 LM, ; ibid., pl. LXXXVII 62 Smith V. ibid., pl no.LXXXV

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The other Excavated Artefacts of Mathura 153 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, Jyotiska and Vimanavasi 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 Candanbala 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 Dhannasresthin 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/bhiksa' to Mahavira, 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 Dhanna 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 abhiniSkramaNa mahotsava ke lie devoM kA Agamana 753- tato NaM samaNassa bhagavato mahAvIrassa abhinikkhamaNAbhippAyaM jANittA bhavaNavativANamaMtara-jotisiya- vimANavAsiNo devA ya devIo ya saehiM 2 ruvehiM, saehiM 2 NevatthehiM, saehiM 2 ciMdhehiM, savviDDhIe savvajutIe savvabalasamudaeNaM sayAI 2 jANavimANAI duruhaMtiAcaranga 2nd Srutaskandha, Gatha -753. 64 Smith, op. cit., 1900, pl. XXXIII, fig.1.

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154 The Jaina Stupa at Mathura: Art & Icons 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 Mahavira, Candanabala, Valkalchiri establish the antiquity of Agama-sutras. 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 Padmanabha temple in Cobia Para in Mathura. 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 astmangala 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 Mathura and even at Hungary. 5.17 Mathura's Jaina images with special reference to Usnisa: The classic artists of Mathura have produced gigantic images in round, continuously up to the end of Kusana rule. Many Jaina images of this School obtained from the site of Kankali Tila have depiction of caitya vrksa, pillar and Jaina motifs at their back and on sides. At Mathura Jaina community was larger than that of Buddhists as in Kusana and post Kusana period more objects of art and inscriptions of Jaina sanctuaries have been found than Buddhist ones. Out of 132 Brahmi inscriptions from Mathura mentioned in "Luders' list of Brahmi inscriptions'- 84 are credited to Jainas, while 33 are to Buddhas and 15 are not affiliated to particular creed. Therefore Mathura 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 other Excavated Artefacts of Mathura 155 "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 usnisa was invariably depicted on Buddha images but the same was not carved on Jaina images of Kusana period, though some of the images of pre Kusana period are available with usnisa (fig. 105). Most of the Jina images of Kusana period are without usnisa, but later on they were depicted with usnisa as seen in Western Indian School and late Kusana period. The head of Jina is covered with curls carved in various ways. The inscribed Aristanemi from Rajgiri of Gupta period has usnisa. Dr. Leeuw elucidates the term usnisa after referring to the views of Coomarswami, Bulhar and Foucher that the word usnisa 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 yaksas and other supernatural and royal beings shown wearing turban. Buddha was represented with top knot of hair. Dr. Lohuizen reveals that in Mahapurusa characteristics usnisa laksana is also mentioned68. Regarding Jina images, Coomarswami explained that they show usnisa 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 kalpavrksas to Brahmanas70 by King Kharvela as noted by him in the inscription at Udaygiri-Khandagiri. The srivatsa mark on chest of Jinas became characteristic in Kusana period and onwards. The Buddha image draped over the chest, so the srivatsa mark was depicted on the palm of Buddha image. 66 G. Bulhar, Specimens of Jaina Sculptures from Mathura, 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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The Early Epigraphic Records of Mathura Mathura's dedicatory image inscriptions indicate the cult of Jaina Tirthankaras prevailing in Kusana period wherein one can finds plenty of images of 1st Jina Rsabhadeva, 22nd jina Aristanemi, 23rd Jina Parsvanatha and 24th Jina Vardhamana as mentioned in the inscriptions of that era. Besides, two inscriptions of twentieth Tirthankara Munisuvrata-svami, one Santinatha and Sambhavanatha on their respective images are also obtained from K.T. 6.1 The cult of Jaina Tirthankaras: V. Smith suggests that ornamental bosses1 on railings have figures of elephant, goose and antelope, which might be the emblems of Ajitnatha, Sumatinatha and Santinatha respectively. Even if one considers the symbols Srivatsa and Bull on the bosses, they are the emblems of Sitalnatha and Rsabhadeva, therefore it seems that Mathura's Jaina sangha was aware of Lanchanas of Jinas. One oldest Caturvinsati image with Rsabha as Mulanayaka (fig. 11) is likely to be established in late Kusana period owing to its combed hair style and slightly raised usnisa. The Lanchanas 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 Ayagapata no specific pattern is noticed. On the Ayagapata of Lonasobhika (fig. 41) it is on a stupa dome while in the Ayagapata of Sivayasa (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 Ayagapata too. The type of the sculpture is mentioned in the inscription whether it is an image, a pillar, an ayagapata or a torana. Such narration proves the high accuracy and sense of keeping systematic records of Jaina Sangha at Mathura. 1 Smith V, 'The Jaina stupa ... at Mathura' 1900, elephant pl. - LXXII & LXXIV, fig. 2; goose pl.- LXXIV, fig. 3; antelope- LXXV, fig.1; Srivatsa pl- LXXV, fig. 6 back elevation; Bull pl.- LXXV. fig. 3 and 4, pp 39.

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The Early Epigraphic Records of Mathura 157 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 Mahavira, (J 2 LM., fig. 121) obtained from Kankali Tila, 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 nandipada, forming three jewels (Ratnatrayi) with oval shaped altar (Siddhasila). The Ayagapatas eg. 1. Bhadranandi (fig. 111) 2. Sihanadika (fig. 110) and 3. Sivaghosaka (fig. 106) have Jina images resting on tiers created on nandipadas. The said Mahavira 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 Mathura?. 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 Kusana inscriptions and it may be said with certainly that any conclusions as to the chronology of the Kusana 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 Mathura (299)

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158 5 6 7 8 The Jaina Stupa at Mathura: Art & Icons 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 Kusana 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 Kusana 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 Kusana period, the proper name of the ruling king. is always mentioned in inscription which is absent here so the image could be assigned after Kusana 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 Saka 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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6.4 9 The Early Epigraphic Records of Mathura 159 (sarva) Siddhas and then Arihantas who are called Maharaja. In the first line the word 'sya' is added to 'Maharaja' and 'Rajadhiraja" (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 Rajadhiraja 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 Mahavira Samvat. We know that most of the inscriptions of Kusana reign are available with the detail of Guru's school, sakha with donor's caste and genealogy, such information is not given here. The names of the donors like Okharika, Okha, and Ujjetika 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 Mahavira Samvat. Three images of medieval period with the words 'Mula Sangha' and 'Deva Nirmita': As we know, the main two sects of Jainism are Svetambara 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., "Svetambara Mula sangha avam Mathura samgha- ek Vimarsha", Jain Vidya ke Ayama, vol. 6 (1998) 630-634.

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160 The Jaina Stupa at Mathura: Art & Icons The first image (fig. 122, J 143 LM.) displayed in the front of Museum has a following text; Samvat 1036 (or 1038) kartika Sukla ekadasyam SriSvetambara M(u)la Sanghena pascima catu (sthi) Kayam Sri Devanirimita pratima pratisthapita'. The second image J 144 LM. has an inscription with its text as follows 'Svetambara ... Mathura... Devanimmita... pratisthapita'. The inscription on third image J.145 LM. Reads "Samvat 1134 Srisvetambara SriMathurasangha Sridevateti Viniramita Pratimakrita'. Out of above three inscriptions, first refers Svetambara Mula Sangha while other two refer Svetambara Mathura Sangha. Here in the second line of the first inscription (J.143 LM), the word "Svetambara' is clearly readable, but after that, 'Ma' is readable but the 'La' is not clear. Dr. Fuhrer read the word as "Mula" as per the record of Lucknow Mesuum. Dr. Jain S. is also of the same opinion that the word is "Mula". 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 Svetambara tradition. Dr. Fuhrar stated that the dedicated inscriptions were made by the Svetambara community. Besides above three inscriptions, one more of Kusana period (L.L.no.47) states that it was established at Deva Nirmita shrine. Here all four inscriptions support that they were set up at 'Sri deva nirmite' (stupa). Thus in Mathura, Jaina Sangha was using this name since centuries (prior to 1st A.D.) for the stupa premises which later on called Jaini Tila after destruction. It is apparent from Vividha-tirtha-kalpa and other Jaina canons that the stupa at Mathura was 'Deva nirmita'. It's renovatation was carried out by Acarya Bappabhattasuri in 769 A.D. The kalpa also narrates that Ksamasramana Jinabhadrasuri had rewritten the text Maha-nisitha-sutra followed by the renovation of the stupa and shrine.

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The Early Epigraphic Records of Mathura .161 Before coming to any conclusion it is necessary to observe some copper plates referring Mula sangha viz. i) 2 inscriptions of Nonamangala ii) Devagiri and iii) Halsi in southern India. On the two copper plates of Nonamangala (c.370 and 425 A.D.) in southern India we find the names "Mulasanghanusthitaya' and "Mulasanghenanusthitaya' respectively but without mentioning any traditions like Nirgantha or Kurcaka or Yapaniya 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-mahajinendradevata (shrine), second for Svetapata-mahasramana-sangha and third for Nirgratha-mahasramana-sangha. The Halsi donation record refers the names of Yapaniya, 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-mahasramanasangha might be suggesting the migrated Acela sramana 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 Mulasangha. 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 Mulagana/Mulasangha. Afterwards the same introduced as 'Sri vraksamula gana' 'Punnagavsaksamulagana' 'Kanakopala-sambhuta-vsaksamula-gana' etc. however the word Mulagana was retained and adopted the name Mulasangha. Thus when Nirgrantha tradition reached south they called themselves as a Mula Sangha, wherein after 100 years they adopted the name Yapaniya and excluded Mula. Again the Mulasangha 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 Yapaniya who supports acelakatva and their scriptures continued the name 'Mula' like Mulacara, Mularadhana, etc. 10 Dr. Jain S., "Svetambar Mula Sangha evam Mathura Sangha-ek Vimarsha", Jain Vidya ke Ayama, v 6 (1998), pp. 633.

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162 The Jaina Stupa at Mathura: Art & Icons * Besides, Dravidanvaya's inscription mentions his sangha as Mula Sangha in 1040 A.D. This is the first available reference relating them to Mula Sangha. The relation of Kundakunda-anvaya with Mula Sangha appeared in the inscription of Dodda-kanagalu in the year 1044. A.D. Yapaniya tradition has also revealed their Sangha as Mula Sangha in 1108 of inscription of 'Yapaniya Punnagavriksa Mulagana'. All above inscriptions prove that in the 11th century all Sanghas have claimed their sangha as Mula Sangha. From the inscription of the image J 143 LM it is clear that Mula Sangha was the part of Svetambara tradition also. The period mentioned in the inscription was sixty years prior to the time when every Sangha in India considered Mula Sangha as a part of their traditions. Mathura Sangha is considered as of Digambara tradition but from the inscriptions of above other two images with the words like "Svetambara Mathura Sangha' without mentioning the names of any ascetics likely to be only of Sravakas 11 The published book "The Jaina Stupa and Other Antiquities at Mathura" by Smith V. discloses that there existed three sanctuaries - one stupa, a Svetambara 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 sakha'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., "Svetambar Mula Sangha evam Mathura Sangha- ek Vimarsha", pp. 631-2.

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The Early Epigraphic Records of Mathura 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 Mathura 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 Kusana period at Mathura. They called Arihanta as Bhagavato12, Bhagvan13, Bhagaval4, 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, Bhayal7 for bharya- wife, Dharmapatni18. wife. Sometimes middle aksaras are deleted eg. kaska for Kaniska. Ksasya 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 Kartika, Mrigasirsa, Pausa, Maha etc. Instead, they used the era of dynasties like Ksatrapa 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, 'Bhagawan Vrisabhasri'. ii. JSS no.56. 14 i. Ep. In. Vo. II, no. 6, Bhagava Nemeso. ii. JSS no. 13. 15 i. JRAS, 1896, Arihanta Mahavirasya. 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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The Jaina Stupa at Mathura: Art & Icons 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 (Manikara/hairanyaka/Sauvarnakara); worker engaged in metal (Lohikaraka); ironsmith (Lohavaniya), cotton dealer (Karappasika); dyer (Rayaka); perfumer (Gandhaka); dancer (Nataka); courtesan (Ganika); members of Jaina Sangha particularly by Sravaka or Sravika 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 Vijaysree 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 Ayagapata. The inscription22 dated 20th year of Kusana era is regarding the establishment of an image by Mitra, wife of Haggudeva, daughter of Jayabhatti, the lapidar (Maniakara) and daughter-in- law of an iron monger (Lohavaniya). 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 Kusana era records the establishing an image of Mahavira 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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The Early Epigraphic Records of Mathura 165 By iron monger - Lohikaraka: 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 Vadhara in the 20th year of Kusana era is available on image20. Another inscription is of establishment of an image in the year 52 of Kusana era by Lohikaraka (the worker in metal), Sura the member of the committee (Gottika), the son of Sramanaka. The famous Sarasvati image established in the rangamandapa of the shrine is also by Lohikaraka-the worker in metal named Gova, the son of Siha as per the inscription28 of Kusana era in the year 54. By cotton dealer - Karppasika: One inscription, dated 40 or 60th of Kusana era in the period of Huviska refers the donation of an image gifted by Datta the wife of cotton dealer- Karppasika to please Bhagavan Rsabhasri29. By perfumer (Gandhika) : There are three images referring to the donation made by perfumer (Gandhika). One image of Jina Vardhamana30 records that same was donated in the year 35 of Kusana era by perfumer Kumarbhati the son of Kumarmit (r) a. The second was established by Jinadasi, the wife of Gandhaka-perfumer in the year 83 of Kusana era in the reign of Maharaja Vasudeva31 and the hird image32 records the installation in the-98 year of Vasudeva's reign by the daughter-in law of Varuna the perfumer (Gandhaka). By dyer (Rayagini) : An inscription of donation of an image by a lady dyer33 (Rayagini) the wife of Jayabhatta in the 25 year of Kusana era is also there. By a ferryman (Pratarika) : Even a reference of donation by a ferryman is available on a Jaina image. Accordingly a lady Samadhya the wife of Grahamitrapalita34 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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166 The Jaina Stupa at Mathura: Art & Icons ferryman (Pratarika) donated an image in the reign Kumaragupta, the year 113 of Gupta period. By a Dancer (Nartaka) : A record of setting up an Ayagpata by Sivayasa the wife of the dancer (Nartaka) Phaguyasa35 is of early kusana period. By courtesan: The Ayagapata with the inscription of donation made by courtesan (Ganika) Vasu the daughter of courtesan Lonasobhika36 a shrine, a hall of homage, a reservoir and a Silapatta for the worship of Arhat. By Carvan leader: An image with the record of installation by Dharmmasoma the wife of Sarthavaha37 (carvan leader) in the year 22 of Kusana era. Thus dedicatory donations of images, shrines, reservoir etc. were made by common people. As suggested by Bajapayi K.D. the term Sresthi denotes a banker or merchant or foreman of a guild38. It occurs on two inscriptions from kankali Tila, the first dated 15 year and second of 38th year of Kusana era setting up a pillar with Nandivisala. 6.7 The Evolution of Mahamantra Navakara and its Present Form: In Jainism the sacred Navakara 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 Mathura images and Hathigumpha cave inscription. The 17 line inscription of King Kharvela at Hathigumpha commences with the adoration of Jinas by first two padas of the said Mantra Namo Arahantanam. Namo Savva Siddhanam. 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 Angavijja 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. Coomarsvami, HIIA, pp. 72. pl. 19. 37 L.L. no. 30. 38 Bajapayee K. D., op. cit. pp. 129.

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The Early Epigraphic Records of Mathura of Navakara mantra. According to scholars the scripture Angavijja is compiled by previous Acaryas before the Christian era, as its language is similar to ancient Ardhamagadhi and Saurseni. It has total eight adhyayas where many subjects are discussed in detail including previous form of Suri and Vardhamana Vidya. In Angavijja, three forms of Navakara mantras is available. 1. Dvipadatmaka-having two padas. 2. Tri-padatmaka- with three Padas. 3. Panca- padatmaka- having five padas39. Later on four padas joined to show the power of consequences of adoration. 1. Dvi-padatmaka form of Navakara mantra: 1) Namo Arihantanam. 2) Namo Siddhanam or Namo Savva Siddhanam. 2. Tri-padatmaka form of Navakara mantra: 1) Namo Arihantanam. 2) Namo Siddhanam. 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 Sahunam and Namo Savva Sahunam. 3. Panca-padatmaka Navakara mantra: 1) Namo Arhantanam. 2) Namo Siddhanam/ Namo Savva Siddhanam. 3) Namo Ayariyanam. 4) Namo Uvajjhayanam. 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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168 The Jaina Stupa at Mathura: Art & Icons Afterwards the four padas are joined to emphasise the consequences of adoration known as falasruti or Culika. Mantra (in continuation) Elucidation 6) Eso pancha namukkaro such five salutations 7) Savva pavappanasano destroy all the unauspicious -- happenings (sins), 8) Mangalanca 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 Hemcandracarya in Yogsastra42 that the yantra of the same mantra is brought to light by previous acarya Vajrasvami from Vidyanupravada-purva43. Till the period of Vajrasvami 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, Jainacaryas 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 Navakara mantra is called Navadevata and Siddhacakra in Digambara and Svetambara traditions respectively. The creation of Siddhacakra and Navadevata Yantra is based on adoration of five Supreme ones. Both yantras have nine elements in which Panca Paramesthis are common while other four with minute differences are given - 421) Hafc4:41 ERR : Pen vidyAnuvAdAtsamudhdRtya bIjabhutaM shivshriyH||74 / / janmadAvahutAzasya prshaantnvvaaridm| gurupadezAvdijJAya siddhacakraM vicintayet / / 75 / / - 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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The Early Epigraphic Records of Mathura 169 Svetambara 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 Mathura's Ayagapattas, they were carved with sacred symbols. Here Jina is always shown as Arihanta i.e. sitting in Samavasarana under the Caitya vrksa 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 'Panca Paramesthi Namaskara 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 Panca- Paramesthi mantra was employed in various Tanric rites. It seems that above mantra and yantra might be used for pure rites like Sankita and Paustika. The roots of said Yantra could be seen in depictions on two of the Ayagapattas - svastika and Sivaghosaka. The Ayagapatta of svastika (fig. 107) offers Arihanta at the centre_surrounded by a group of four nandipada. Here outer circle has four objects a stupa at the top, a deity at bottom and a sacred tree within railing on both sides. The Ayagapatta of Sivaghosaka (fig. 106) has a Jina in centre circle adored by two ascetics surrounded by four groups of three jewels. In both above Ayagapattas we get Arihanta, Sadhu, a shrine, a deity, sacred tree and three jewels similar to Siddhacakra and Navadevata. Here the Ayagapatta of wheel (fig. 108) could be considered as the symbol of sacred wheel as in the yantra of Navadevata. 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 Ayagapattas and Jina images of Mathura, both differ in their initial words. Most of the Ayagapattas 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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170 The Jaina Stupa at Mathura: Art & Icons 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 Navakara with its Yantra Siddhacakra and Navdevata is available in the legend of king Sripala in 'Sripalraja-norasa 46 originally 'Siri-sirivala-kaha' by Ratnamandira-gani (1362 A.D.) Here the author describes the Yantra with its details and the austerity performed by Nayaka Sripala and Nayika Mayana for the welfare of their family. Dr. U.P. Shah informs us that - originally, the Siddha-cakra or the Namaskara-valaya must-have been employed in pure rites only, i.e. in the Santika and the Paustika. But the growing Tantric influence in India from 7th century A.D. if not earlier, resulted in the composition of various Buddhist Sadhanas 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 Gana, Kula, and sakha of the Preceptors: The list of gana, kula and sakha embodied in Kalpasutra and the appearance of unclothed images with open eyes are probably based on the fact that the split of the Jain Sangha - Svetambara and Digambara came into existence later on, at least after Kusana era. Even there is no hint of separation in any of the early archaeological records. The chief business centre Mathura 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 Ujhatika, Okharika, Ogha, Akaka 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 Sri Acarya 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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The Early Epigraphic Records of Mathura A genealogy of Acaryas after Mahavira is discussed in many scripturesKalpasutra, Nandisutra, Pattavali-paraga, Himavantacaryas's Theravali etc. Among all these available genealogies (Sthaviravalis), kalpasutra 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 (Sakha) 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 Gana available on 20 images. Varana Gana 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 (sakhas) available from record of donation is 8. The synonyms for ascetics except Acarya, Upadhyaya and Sadhu used in inscription are as per their categories. Vacaka 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. Sramana - Sthavira-The monk is generally called by this name but also sometimes by Samana. Anuyogadhara - the renowned Acaryas 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 Raksitsuri49. Ksapaka - A monk. Arya/Ajja - All Jaina senior monks called Arya, but sometimes any Jaina monk are also called Arya/Ajja. Antevasi/sisya- The ordinary male disciple called Antevasi of his Guru. 48 Anuyoga (Exposition) - Jaina scripture were grouped into four Anuyoga as per its contentsi. Dharma-kathanuyoga. ii. Carananuyoga. iii Ganitanuyoga. iv. Dravyanuyoga 49 Srimad Rajendrasuri smarak Grantha pp-39.

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172 50 i. 51 i. ii. The Jaina Stupa at Mathura: Art & Icons Antevasini - A female disciple called antevasini of her Guru. Sradhacara Sradhacara is colleague 50 of the monk. Sraddhacaari51 Sraddhacari is the female companion of the lady ascetic. - - Yugapradhana - Any Vacakacarya or Ganacarya having extra qualities of power and glory for which he declared as Yugapradhana of that era. The trend of mentioning gana with relevent kula is available only on images not on the other sculptures like Torana, Ayagapata, pillars etc. Though sometimes the name of inspiring Guru is mentioned, but that is without his pedigree. The division of Sramana tradition into several ganas, kulas, sakhas and also sambhagas 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 Gana school: derived from one teacher', Kula succession of teachers in one line. Sakha the lines which branch off from each other. He even holds that the modern Gaccha is the same as the ancient Gana. The Acarya Mahaprajna 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 Vacaka guiding the disciples to carry forward the scriptural knowledge. The tradition of Ganacaryas continued as a teacher to disciple in the same Gana. Vackacarya's tradition as well as Yugpradhana's (chief Sthavira of that era) tradition was not related with single Gana instead it was depending upon the powerful skilled Vacaka of any Gana or Sakha 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 Mathura, 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 Acarya Mahaprajna, Jaina Parampara ka Itihas.

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The Early Epigraphic Records of Mathura 173 There are two inscriptions available from the site of Kankali Tila which include the name of inspired Vacaka having Ganin position too. The inscription of Vijayasrii (L.L. no. 50) states the name of..Dinara the great preacher (brahat vacaka) and Ganin of the Varana gana, the kula was Ayyabhysta, sakha-Samkasiya 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 Vacaka) and Ganin Ja..mitra of Kottiya gana, Brahmadasiya kula Ucchanagari sakha and Srigriha sambhaga. Besides above observations, there are two inscriptions having reference of Mehika55 kula without any reference to the gana (L.L. no. 24, 70, also J.S.S. nos. 26, 63). Both mentioned about the request of Arya Vasula the female pupil (sisini) of Sangamika out of Mehika/Maighika Kula. The first inscription is dated 15 year of Kusana 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 Sanghamika and her sisini Vasula (Nirvatana). According to Kalpsutra this kula belongs to Vaisavatika 56 gana. Its four kulas were Ganika, Meghika, Kamardhika, Indrapuraka and its four sakha s were Sravastika, Rajyapalita, Antaranjiya and Ksaumiliyas7. The systematized divisons of ganas with their head ganins, vacakas, member of kulas as well as sakha s with necessary detail is given below with special reference of three Ganas - Kottiya, Varana and Udeha as per Kalpasutra as well as on image inscriptions 58. 6.10 The Sthaviravali/Theravali as Expounded in Kalpasutra: The Kalpasutra is in three parts: 1. The life sketch of 24 Tirthankaras. Here last three Tirthankaras - 22nd Aristanemi, 23rd Parsvanatha, 24th Mahavira and first Rsabhadev's life history is drawn amply. The lives of remaining twenty Jinas are described in short. 2. Ganadharavada, The leader of the Gana is Ganadhara. 3. Guru's ancestor tradition is elucidated in Sthaviravali/theravali with gana, sakha kula, Sanghata etc. 55 K.D. Bajapayee, Early Inscriptions of Mathura, pp. 114. 56 Ibid. 57 Ibid, also Kalpasutra, Gatha no. 214. 58 The tradition of preceptors on inscriptions is given in this chapter as 6.18 in the table form.

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174 The Jaina Stupa at Mathura: Art & Icons 350 The 24th Tirthankara Mahavira was belonged to Kasyapa 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. Vayubhuti 4. Aryavyakta Sthavira (Sadhu) Bhardvaja Gotra 500 disciples 5. Arya Sudharma Sthavira Agnivaisyayana Gotra 500 6. Mandika Putra Vasistha 7. Maurya Putra Kasyapa 350 8. Akampita Gautama " 300 9. Acalabhrata Haritayana " 300 10. Medarya Kaundinya 300 11.Prabhasa 300 All eleven Ganadharas of Mahavira 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 Sramanas 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 Sudharmasvami who was blessed with longevity. Therefore we call today's Jaina's ascetic tradition is in continuation of Sudharmasvami. Tirthankara Mahavira's descendent order till Yasobhdra is as follows Bhagawan Mahavira Kasyapa Gotra. Arya Sudharma svami Agnivesyayana Gotra Arya Jambusvami Kasyapa gotra Arya Prabhava svami Katyayana gotra Arya Sayambhava Vatsa gotra Arya Yasobhadra Tungiyayana Sagotra Arya Yaiobhadra had two disciples- Sambhutivijaya of Mathara gotra and Bhadrabahu of Pracina gotra. Till the time of Bhadrabahu, new Sramanas 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 Arya Godasa too, the number of

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The Early Epigraphic Records of Mathura 175 Sramanas increased so Ganas and Sakhas s were introduced but not the Kulas. Besides, Godasa other three disciples Agnidatta, Yajnadatta and Somadatta all four were Kasyapa Gotriya sthavira. The disciples of one Acarya was known as kula. Later on in Mauryan period due to increase in number of Sramana sadhus and their Viharas in remote places Ganadhisa/Acarya found it difficult to hold, care and control the classes settled at far places. For better administration of ganas, kulas and sakhas 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 Gacchadhipati. The same pattern still continues in Svetambara tradition. Here the word gaccha stands for a group of sadhus following the same Guru (Gacchadhisa) paramapara. 6.11 Sanksipta and Vistrita Vacana (Short and detailed reading) : In the Kalpasutra further lineage is given in two waysI) Sanksipta Vacana/ Short reading60: comprises of the tradition of Acaryas in Gatha-no. 206 having only their names, gotras, residences and introduced sakhas. 59 kula - zAkhAH "ettha kulaM viNNeyaM, eyAyariyassa saMtatI jAu / tiNha kulANamihopuNa sAvikkhANaM gaNo hoi||" Pattavali-paraga by Pandit. Kalyanvijaygani, pp-12. 60 Samksipta Vacana - saMkSipta vAcanA "saMkhittavAyaNAe ajjajasabhaddAo aggao evaM therAvalI bhaNiyA taM jahA-therassa NaM ajjajasabhahassa 'ha~giyAyaNasagottassa aMtevAsI duve therAthere ajjasaMbhUyavijae mADharasagotte, there, ajjabhaddabAhu pAiNasagotte, therassa NaM ajjasaMbhUyavijayassa mADhara sagotte aMtevAsI ajjathUlabhadde there goyamasagotte, therassa NaM ajjathUlabhaddassa goyamasagottassa aMtevAsI-duve therA-there ajjamahAgirI, elAvacchAsagotte, there ajjasuhatthI vAsiTThasagotte, therassa NaM ajjasuhatthissa vAsiTThasagottassa aMtevAsI duve therA-suTThiya-supaDibuddA koddiykaakNdgaa-ghaavccsgottaa| therANaM suTTiya-supaDiMbuddhANaM koDiya-kAkada-gANaM vagghAvaccasagottANaM aMtevAsI there ajjaiMdadinne kosiygotte|| therassa NaM ajjaiMdadinnassa......ajjatAvasI sAhA niggayA iti / / 206 / / Kalpsutra - theravali

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176 The Jaina Stupa at Mathura: Art & Icons II) Vistrita Vacana/ Detailed reading61: The detailed reading /Vistruta Vacana is given with genealogy of Acaryas with their respective kulas and sakhas in Gatha nos. 207 to 222 up to Falgumitra. As per the detailed reading further lineage of Arya Yasobhadra is as follows; he had two famous disciples-Sthavira Arya Bhadrabahu of Pracina gotra and Arya Sambhutivijaya of Mathara Gotra. Sthavira Arya Bhadrabahu's four disciples were Godasa, Ajnidatta, Yajnadatta and Somadatta having Kasyapa Gotra therefore their disciples came to be known as Kasyapa Gotriya Sthaviras. The inscription of Ahicchatra suggests that it was donated for Kasyapiya Sthaviras. In the period of Godasa the number of Sramanas increased resulted in introduction of more sakhas, however they called themselves as the disciples of that particular Gana's leader. The first Gasa was introduced by him as Godasa Gana. 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 Mathura images showing their existence and hold in the city. Their monks toured to four remote places to propagate Jainism, that resulted in opening four Sakhas of Godasa Gana based on those cities' names1. Tamraliptika - Tamaluk city, district Medinipur, Bengal. 2. Kotivarsiya - Mursidabada city, W-Bengal, previous name Kotivarsiya nagara. 3. Paundravardhanika - Pandua/Firozabada town, Nadiya, Virbhuma etc. North Bengal, previous name Paundravardhana- nagara. 4. Dasikarpatika - Dasikarpata nagara, east Bengal, near sea coast. Yasobhadra's first disciple was Bhadrabahu 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 Vacana - fata ale "vittharavAyaNAe puNa ajjajasabhaddAo parao therAvalI evaM paloijjai, taMjahA-therassa NaM ajjajasabhaddassa ime do therA aMtevAsI ahAvaccA abhinnAyA hotthA taMjahA-there ajjabhaddabAhU pAINasagotte, there ajjasaMbhUyavijaye mADharasagotte / therassa NaM ajjabhaddabAhussa pAINasagottassa ime cattAri therA aMtevAsI ahAvaccA abhiNNAyA hotthA, taM there godAse, there aggidatte, there jagNadatte, there somadatte kaasvegottennN| therehiMto NaM godAsehiMto kAsavagottehiMto ettha NaM godAsagaNe nAmaM gaNe niggae, tassa NaM imAo cattAri sAhAo evamAhijjaMti, taM tAmalittiyA koDIvarisiyA, poMDavaddhaNiyA, dAsIkhabbaDiyA / / 207 / / / 62 Ep. I. vol. I. pp. 379-80 and Ep.I. vol.-X Append.X no.22-27.Also, the History of Jain Monarchism.

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The Early Epigraphic Records of Mathura __177 The seven female disciples were Yaksa, Yaksadinna, Bhuta, Bhutadinna, Sena, Vena, Rena (sisters of Sthulabhadra). The twelve male disciples were Sthulabhadra, Nandanabhadra, Upanandanbhadra, Tisyabhadra, Yasobhadra, Sumanobhadra, Manibhadra, Purnabhadra, Rjumati, Jambunama, Dirdhabhadra, Pandubhadra63. Sthavira Sthulabhdra had two disciples, Arya Mahagiri of Elavatsa gotra having 8 disciples and Arya Suhasti of Vasistha gotra with 12 disciples. Eight Disciples of Arya Mahagiri were- Sthavira Uttara, Balissaha, Dhanadhya, Sriadhya, Kaudinya, Naga, Nagamitra and Saduluka-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 Arya Mahagiri - Uttara and Balisaha introduced Uttarabalisaha Gana64 having four Sakhas based on the names of their citiesKaubambika- From Kausambi. Now known as Kausam and Pabhosa hill, near Alhabad. Suktimatiya- From Suktimati nagara; once it was a famous city in south Malava in M.P. Kaudambani- The place Kaudambana is not known. Candranagari- From Chandranagara place, it is 3 mile away from Hugali in Bengal. 63 "therassa NaM ajjasaMbhUyavijayassa mADharasagottassa ime duvAlasatherA aMtevAsI ahAvaccA abhiNNAyA hotthA, tNjhaa| naMdaNabhaduvanaMdaNabhadda taha tIsabhadda jasabhadde / there ya sumaNabhadde, maNibhadde punabhadde ya / / 1 / / there ya thUlabhadde, ujjumatI jaMbunAmadhejje ya / there ya dIhabhadde, there taha paMDubhadde ya / / 2 / / therassa NaM ajjasaMbhUivijayassa mADharasagottassa imAo satta aMtevAsiNIo ahAvaccAo abhinnAtAo hotthA, taMjahA : jakkhA ya jakkhadinnA, bhUyA taha hoi bhUyadinnA y| seNA, veNA, reNA, bhagiNIo thUlabhaddassa / / 1 / / 208 / / _P. Kalyanvijayaji, op.cit., Gatha 207, 208. 64 Kalpasutra-theravali, Gatha no. 209. Also ibid, PP-20.

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178 The Jaina Stupa at Mathura: Art & Icons Arya Suhasti's 12 disciples were very powerful and have vast knowledge of scriptures. His seven disciples introduced six ganas stated below. The name of other five disciples are - Arya Meghagani, Arya Raksita, Sthavira Rohagupta, Brahmagani and Somagaai. The first disciple Arya Rohana of Kasyapa gotra opened Udeha gana taking care of four sakha and six kulas. The four sakhas6s of Udeha a are Udumbariva. Maspuriya, Mathuriya and Purnapatrika; The six kulas of Uedaha gana are Nagabhuta, Sombhutika, Adrakaccha, Hastalehya, Nandiya and Parihasika. The second Sthavira Srigupta of Harita Gotra introduced Varana gana (sometimes it is introduced as Carana gana) having four sakhas and seven Kulas (Gatha 212). The four sakhas of Varana ganas - Haritamalagari, Sankasiya, Gavedhuya and Vajjanagari. The seven Kulas of Varana gana are Vatlsaliya, Priitidharamaka, Haliya, Pusymitriya, Maliya, Arya Cetaka and Krsnasakha. The third disciple Bhadrayasa (Bharadvaja Gotra) introduced aetuvatika gana having four branches and three kulas. Its four branches are Campiya, Bhadiya, Kakandika and Maithiliya. Its three kulas are Bhadrayasiya, Bhadraguptiya and Yasobhadriya (Gatha 213). The fourth disciple Kamardhi (Kodala Gotra) brought in Vaisavatika gana having four Sakhas-Sravastika, Rajyapalita, Antaranjiya, Kyaumiliya and four Kulas- Ganika, Meghika, Kamarddhika and Indrapuraka66. The fifth disciple Rsigupta (Vasistha Gotra) from Kakandaka introduced Manava gana having four sakhas.- Kasyapiya, Gautamiya, Vasisthiya and Sauratthiya. Its three Kulas were Rsiguptika, Rsidattika and Abhijayanta67 The sixth and seventh disciples Sthavira Susthita and Supratibuddha (both having Vyaghrapatya Gotra) introduced the very famous Kottiya/ Kotika gana with four branches- Ucchanagari, Vidyadhari, Vajri and Madhyama. Its four Kulas were Brahmaliya, Vastraliya, Vanijya and 65 P. Kalyanvijaji, op.cit. Gatha 210, 211. 66 gaNiyaM mehiya kAmaDDiyaM ca taha hoi iMdapuragaM ca 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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The Early Epigraphic Records of Mathura 179 Prasnavahana68 The Gana of both Sthaviras came to be known as Kottika as they were the residents of Kottivarsa nagara and Kakandi nagara respectively. There further genealogy informed us that they opened new Sakhas 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. Arya Indradatta (Kasyapa gotra) 2. Priya-grantha (Madhyama Sakha) 3. Vidhyadhara Gopala (Kasyapa g. Vidyadhari Sakha) 4. Rsidatta 5. Arhamadatta. Arya Indradatta's disciple was Arya Datta (Gautama gotra). His disciple Santisrenika (Mathara-gotra) introduced Ucchanagari Sakha. Arya Sinhagiri (Kausika-gotra) was having knowledge of Jatismarana i.e. Knowledge of past, present and future period. Arya santisrenika had four insightful disciples :1. Arya Srenika (sakha Arya Srenika) 2. Arya Tapasa 3. Arya Kubera (sakha Arya Kubera) 4. Arya Rsipalita (sakha Arya ssipalita) Arya Sinhagiri had four disciples - 1. Arya Dhanagiri 2. Arya Vajra 3. Arya Samita 4. Arya Arhamdatta. Out of them two introduced Sakhas. Arya Samita started Brahmadipika sakha and Arya Vajra (Gautama gotra) introduced Arya Vajrii Sakha. Arya Vajra had three disciples introduced one sakha each 1. Arya Vajrasena (sakha - Arya Nagili). 2. Arya Padma (Sakha - Arya Padma). 3. Arya Ratha having Vatsa gotra (sakha - Arya Jayanti). Arya Ratha's tradition further continuedArya Ratha (Vatsa gotra) --- Arya Pusyagiri (Kausika .gotra) ---Arya Falgumitra (Gautama gotra) --- Arya Dhanagiri (Vasistha gotra) --- Arya Sivabhuti (Kautsa gotra) --- Arya Bhadra (Kasyapa gotra) ---Arya Naksatra (Kasyapa gotra) ---- Aryaraksa (Kasyapa gotra) ---Arya Naga (Gautama gotra) --- Arya Jehil (Vasistha.gotra) --- Arya Visnu (Mathara 68 maDhamettha baMbhalijja (baMbhadAsiya) tiyaM nAmeNa vacchalijjaM tu| fafarei qui aiful voi urezi EUR 118811 Kalpatheravali. 69 therANaM suTTiya-supaDibuddANaM koDiya kAkaMdayAMNaM vagghAvaccasagottANaM ime paMca therA aMtevAsI ahAvaccA abhinnAyA hotthA, taM jahA : there ajjaiMdadinne, there piyagaMje, there vijjAhara govAle kAsave gotteNaM there isidatte there arhdtte| therehiMto piyagaMthehiMto ettha NaM majjhimA sAhA niggayA / therehito vijjAhara govAlehiMto kAsavaguttehiMto ettha NaM vijjAharI sAhA niggayA / / 217 / /

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180 The Jaina Stupa at Mathura: Art & Icons gotra) --- Arya Kalaka (Gautama gotra). His two disciples were Arya Sampalita and Arya Bhatta (Both Gautama gotra). The geneology continued from Arya Sampalita and Arya Bhatta. His sthavira disciple Arya Vriddha (Gautama Gotriya) ---, his disciple Arya Sanghapalita (Gautama gotra) --- Arya Hasti (Kasyapa gotra) - Arya Dharma (Suvrata gotra.) --- Arya Sinha (Kasyapa gotra) --- Arya Dharma (Kasyapa) --- Arya Sandilya..... In this Kalpatheravali, a list of 33 Pattadharas (friars) from Sudharma to Sandilya is given with their qualities and epithets. Theravali is compiled by Devardhigani who was 34th Acarya. He has mentioned names of all the Acaryas with Guru-desciple tradition in prose format. The given genealogy from Sudharma to Sandilya is by Acarya 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 Yugapradhana Acaryas. 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 Ksamasramana Desigani, Sthiragupta, Kumaradharma and Devardhigani who were venerated with head down. (Te vandiuna sirasa, tam namam sami. tam Panivayami.) Suppose if the said hymn is composed by Devardhigani Ksamasramana 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 Theravali part. As per the author of Pattavali Paraga, Acarya Kalyanvijayaji and the critics of this sutra, that the prose part of Sthaviravali was formed before Devardhigani,72 but narrated in sutra by him. 70 "gifH fH a, T uff 7 afg kocchaM sivabhUI piya, kosivadojjiMtakaNhe ya / / 1 / / te vaMdiUNa sirasA, bhadaM vaMdAmi kAsavasagottaM / NakkhaM kAsavagottaM, rakkhaM pi ya kAsavaM vaMde / / 2 / / vaMdAmi ajjanAgaM ca, goyamaM jehilaM ca vAsiTuM / viNDaM mADharagottaM, kAlagamavi goyamaM vaMde / / 3 / / 71 repertifs, q46446 TUFE FT deviDDhikhamAsamaNe, kAsavagutte paNivayAmi / / 14 / / 72 Ibid, pp. 32, 33. Patlavali Paraga, pp. 29 Ibid, pp. 30

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The Early Epigraphic Records of Mathura 6.12 Agama Vacana: The friars passed on Jaina's Ardhamaghadhi literature through oral recitation. As per available references five Agama Vacanas (councils) were held. These were on the Nirvana of Mahavira Samvat 160 to 980 or 993 at Pataliputra, Kumarihill, Mathura 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 Ardhamagadhi, while the same used by people of Sursena-desa which includes Sauripura, Mathura and Agra was recognised as Saurseni Prakrit. Besides Magadhi language, Jaina canons were influenced by other dialects also, hence called Ardhamagadhi. 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 Tirthankaras and arranged in sutras by Ganadharas, since then these Angas became the wealth of Acaryas so also called Ganipitakas73. The other name for the same is 'Dvadasangi' as they are twelve*. (Acaranga, Sutrakritanga, etc.) Anga-bahya (other than basic) Agamas were codified by Purvacaryas over a period of time. - 6.13 The Classification of Agamas: The Ardhamagadhi Agamas are classified into Anga74, Upanga, Mulasutra, Chedasutra and Prakirnaka in later period (12th century approx.). Angasutras: 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-prajnapti, Jambudvipa-prajnapti, Candra-prajnapti under the Drastivada Anga. 73 Acarya Mahaprajna- Jain Parampara ka Itihas- pp-65. 74 12 Angas (1) Ayara/Acaranga (2) Suyagad/ Sutrakrutanga (3) Thana/Sthananga (4) Samavayanga (5) Viyaahapannati / Vyakya prajnapti / Bhagavati (6) Nayadhammakahao/ Jnatadharmakathah (7) Uvasagadasao/Upasakadasah (8) Antgadadasao / Antakritadasah. (9) Anuttarovavaidasaao/Anuttaraupapatikadasah (10) Panha-vagaranai / Prasna-vyakarani (11) vivagasuyam / Vipakasrutam (12) Drastivadah / Ditthivaya.

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182 The Jaina Stupa at Mathura: Art & Icons Upangasutras: The Upangas75 are also twelve in numbers. The Svetambara sect acknowledges them while Digambara sect do not. Mula/basic Sutras: In general four sutras are considered as basic (Mula) - 1 Uttaraddhyayana 2 Dasavaikalika 3 Avasyaka and 4 Pinda-niryukti. Svetambara tradition has two more sects- i) Sthanakavasi and ii) Terapanthi. These both sects believe first two Mula Agamas but do not consider Avasyaka and Pinda-niryuktis as basic (Mula) sutras but instead Nanndi-sutra and Anuyogadvara-sutra are considered as basic. Digambara tradition acknowledges Dasavaikalika, Uttaradhyayana and Avasyaka. The Digambara commentaries of Tatvartha, Dhavala and Anga-prajnapti have references of above three sutras. Yapaniya tradition had also recognised above three basic-sutras and a commentary on Dasavaikalika in 9th century by Acarya Aparajita. Cheda-Sutras: There are six Cheda-sutras76 recognised by Svetambara Murtipujaka tradition. Svetambara Sthanakavasi and Terapanthi acknowledge Chedasutras except Mahanisitha and Jitakalpa. Digambara and Yapaniya included Kalpa, Vyavahara and Nisitha sutras in Angabahya scriptures. Yapaniya scriptures contain references and quotations: of above Chedasutras. The Cheda-pinda scripture of Digambara sect concerning repentance basically of Yapaniya sect accepting Jitakalpasutra while acknowledging Kappa and Vyavahara sutra. In this way Digambara and Yapaniya traditions had recognised Vyavahara, Nisitha, and Jitakalpa. (At present Digambara Acaryas do not believeing in these sutras.) The western scholors- Jecobi, Schubring etc. considered these Cheda-sutras to be ancient. 75 12 Upangas: 1. 1. Uvavaiyam / Aupapatikam 2. Rayapasenium / Rajprasneyim 3. Jivabhigama 4. Pannavana / Prajnapana 5. Surpannati / Surya prajnapti 6. Jambudvipa prajnapti 7. Chandapannti / Candra prajnapti 8. Niryavaliyasuyakkhandha / NiryavalikaSrutaskandha 9. Kappavadisiyao / Kalpavatansikah 10. Pupfiyao / Puspikah 11. Puphaculao / Puspacalah 12. Vanhidasao (Vrasnidasah).. 76 6 Chedasutras: i) Ayardasa (Dasasruta-skandha), ii) kappa (Kalpa), iii) Vyavahara, iv) Nisitha v) Mahanisitha and vi) Jitakalpa.

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The Early Epigraphic Records of Mathura Prakirnaka Agamas: There are ten scriptures that come under Prakirnaka 77 Agamas. They are not recognised by Terapanthi and Sthanakavasi sects. Out of ten Prakirnakas nine are available in Nandisutra. The Digambara and Yapaniya sects also do not recognise them but many Gathas from Aturpratyakhyana and Maha-pratyakhyana are available in Sanksipta and Brihat Pratyakhyana scriptures. The scripture Bhagavati-aradhana also contains many Gathas from Marana-vibhakti, Aradhana-pataka etc. Culika Sutras: There are two scriptures known as Culika-sutras i) Nandisutra and ii) Anuyogdvara-sutra. They are recognised by all sects of Svetambara tradition. Above 45 Agamas are recognised by Svetambara, who worshipped images. The other two sects - Sthanakavasi and Terapanth believe in 32 Agamas excluding Jitakappa, Maha-nisitha, pinda -niryukti and ten Prakirnakas. The classification of Digambara and Yapaniya Agamas is based on Umaswati's Tattvartha-sutra having similar system as in Nandisutra. 6.14 The Antiquity of Agamic Literature and Its Composition: The first Vacana took place at Pataliputra in third century B.C. in the period of Sthulabhadra. This shows that at that time, Ardhamagadhi Agamas 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 Agamas are composed between 4th B.C. to 3rd A.D. He includes Agamas like Dasasruta-skandha, Brihat-kalp and Vyavahara too are codified by Bhadrabahuswami. The last Vacana was held at Valabhipur in Vira Nirvan samy. 980, under the leadership of Acarya Devardhigani and was attendended and supported by 500 Acaryas and their disciples. At that time all Agamas 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 Devardhigani. 77 10 Prakirnakas : 1) Catuhsarana 2) Aturpratyakhyana 3) Bhaktaparijna 4) Santaraka 5) Tandul vaicarika 6) Candravedhyaka 7) Devendrastava 8) Ganividya 9) Mahapacchakhana 10) Virastava.

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184 The Jaina Stupa at Mathura: Art & Icons In Jainism two Ardhamagadhi Agamas are considered to be ancienti) The first Srutaskandha of Acaranga-sutra. ii) Rsibhasita. The sutra form of Acaranga as well as its mode of language is more like Upanisad. In the view of Dr. Jain Sagarmal"The scripture Rsibhasita 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 Mahavira is without any exaggeration and hyperbole. The first Srutaskandha of Acaranga-sutra and Rsibhasita are older than Ashok's Prakrit inscriptions78 The scripture Rsibhasita refers 45 Rsis like Narada, Parasara, Yajnavalkalya, Mahakasyapa, Mankhali Gosalaka with their spriritual belief and sermons without any sectarian thought. The other sutra Sutrakritanga refers to the differnt philosophical schools prior to 4th to 3rd century B.C. The Sthananga sutra is fashioned like Anguttara Nikaya 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-prajnnapti, Surya-prajnapti and Jambuudvipa prajnapti have detailed discussion about astronomy as in Vedanga establishing their antiquity. Jinabhadra had rewritten the Mahanisitha-sutra damaged by termites at Mathura as per Vividha tirtha kalpa of Jinapraprabhasuri of 14th century after visiting various sacred religious places. This reference even concludes that at the time of Mathuri Vacana, some scriptures were written and stored at Deva Nirmita Stupa which was read and rearranged by Jinabhadra Ksamasramana. 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 Mathura the image of Sarasvati holding a manuscript was established in Kusana period also strengthens the antiquity of writing of sruta in Jainism. 78 Jain S., "Ardhamagadhi agama 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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The Early Epigraphic Records of Mathura 185 The indication of modification and addition is clearly available in Sthananga scripture, wherever the disagreement (9784) was noticed among two Vacanas, 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 Agamas most of the information from 4th - 5th B.C. to 5th A.D. is preserved safely. The Maharashtri influence on Agamas is because of the writers, commentators and seers who travelled in Maharastra and Karnataaka. Pronunciation of words in various regions are also responsible for linguistic change in Agamas as Jaina monks are moving from place to place (viharas). Agamas were written on tree bark or copper plate at vallabhi's last vacana. 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 Sruta tradition carried forward by Anuyogadharas upto 1000 years after Mahavira Nirvana, which were later on written during Valabhi's last Vacana. 6.15 The Basic Language of Agamas: The Birth place of Mahavira was Magadha. He delivered sermons in Magadha and surrounding area in people's language (1054191) so naturally his religious discourses were in either Magadhi, Ardhamagadhi or mixed dilect. There are some remarks in Agamas regarding the speech of Mahavira, Ardhamagadhi1. bhagavaM ca NaM adhdamAgahIe bhAsAe dhmmmaaikkhi| - Samvayanga 34, sutra - 22 2. goyamA! devANaM adhdamAgahIe bhAsAe bhAsaMtti saviyaNaM adhdamAgahA bhAsA bhAsijjamANi visjjti| - Bhagavai, sataka 5, Uddesaka 4, Sutra - 93 3. "Bhagwan Mahavira 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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186 The Jaina Stupa at Mathura: Art & Icons Sayings of Buddha : The birth place of Bhagavan Buddha is Magadha and like Mahavira he also delivered his sermons in Magadha and neighbouring area. As per Buddhaghosa 82. sA mAgadhI mUlabhAsA narAyAya aadikppikaa| bramhaNo ca assutAlApA saMbudhdhA cApi bhAsire / / Meaning - Magadhi 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 Magadhi, 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 Mathura's image inscriptions have used 'Na' (Namo Arihanatanam) not 'na'. In General in the saurseni, na (9) is used instead of Na (a) On seeing Mathura's inscriptions it seems that all Saka era's inscriptions are in Ardhamagdhi. Mathura was considered as a chief business centre in Saursena-desa 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 Yapaniya and Digambara Scriptures: The Agama literature of Yapaniya and Digmbara's are as followsYapaniya scriptures: 1) Kasaya-pahuda appr. 4th century A.D. Gunadhara 2) Satkharda-Agama early 5th century A.D. Puspadanta and Bhutabali 3) Bhagavati- Aradhana, 6th century A.D. Sivarya 4) Mulacara, 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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The Early Epigraphic Records of Mathura 187 Digambara Scriptures: 5) Samaya-sara 6th A.D. Appr Kundkunda 6) Niyama-sara 6th A.D. Appr. Kundkunda 7) Pravacana-sara 6th A.D. Appr. Kundkunda 8) Pancastikaya-sara 6th A.D. Appr. Kundkunda 9) Asta-pahuda c. 6th A.D. Appr. 10) Tiloya-pannati after 6th A.D. Yativrasabha 11) Lokavibhaga 12) Jambudviipa-pannati after 6th A.D. 13) Anga- pannati 14) Ksapana-sara 15) Gommata-sara 10th century 6.17 The Table of Agama Vacana at a glance: TABLE OF FIVE AGAMA VACANAS Period Vacana Number First Vacana 160 years after Mahavira Nirvana Place Leadership Reason for Details Of Vacana Vacana Pataliputra (now Jaina Sangha (The drought JAcaryas gathered and known as Patna) 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 sutras without any explanation. The other matter included as anga-bahya in scriptures.

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188 The Jaina Stupa at Mathura: Art & Icons Vacana Period Place Leadership Reason for Details Of Vacana Number Vacana Second After 300 Khandagiri/ Might be Nearly 150 We do not have proper Vacana years of Kumari hill in King Kharwel years after information regarding Mahavira Kalinga now the famous this Vacana. Only Nirvana, 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 Vacana by seers to keep them in order. Third 827 years Mathura Arya Two reasons Acharya Skandila is Vacana after Skandilacarya are given in requested by Jain Sangh Mahavira Nandicurni- to present Vacana Nirvana i.e. I) After the which also known as 3rd century drought of "Vaena". At that time A.D. many years, scriptures were not the Vacana of fully remembered by KALIK SUTRAS seers. The Sadhus who was performed. were moving in North, II) Sutras were East and Central India not lost but gathered at Mathura for Anuyogadha- Vacana assembly. ras were not survived except Acarya Skandila, so he made Agama Vacana. Fourth 827years Vallabhipur Arya The same as The period same as Vacana after Nagarjuna above. above mentioned, the Contem- Mahavira sadhus who were in porary of Nirvana i.e viharas in South and third Vacana 3rd century West zone assembled at (Nagarjuniya A.D. Vallabhipur in Gujarat Vacana) for Vacana. Fifth Vacana 980 years Same as above Acarya To write the 500 Acaryas attended after Devardhigani Agamas before the council with Mahavira Ksamasramana losing them their at least four Nirvana from memory of disciples to write and nearly seers. the scriptures. Here about 150 previously performed years after two Vacanas were also third and united and wherever the fourth difference/disagreement Vacana. is noticed they were assimilated with the words "Nagarjuniyastu Pathanti."

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The Early Epigraphic Records of Mathura 189 Some Notes: Uttaradhyayana, Rsibhasita, Dasasrutaskandha, Kalpa, Vyavahara, Nisitha, etc. are considered as 'Kalika-sutras' means they are to be read at particular SWADHYAYA TIME. The influence of Saurseni dilect on Agamas might have occured after Mathuri Vacana. The Nandisutra informs us that Arya Skandila's Anuyoga was popular in Southern India. This also led to the theory that Yapaniya sect might have recognised them as they are in Saurseni Prakrit without much influence from Maharastri 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 Kusana 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 Vardhamana 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 Vardhamana, Varana gana L M. J. 16 Vardhamana 56 L M. J. 26 Fig. 88, Rsabha, Arya Vriddhahasti. 45 L M. J. 25 Parsva, tree at back L M. J. 17 11 L M. J. 32 12 L M. J. 33 Only feet 13 121 Rsabha, Ucchenagari. 14 84 Fragment, Kottiya Gana. Vardhamana, Image 17 108 Torana- Lahastini. 85 Silapata, 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 zhi'i-ch-b-' cinicheddi 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 Silalekha Sangrah-II, nos. 4 5 93 59 83 99 100 The Jaina Stupa at Mathura: Art & Icons 101 111 103 Jaina Silalekha 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 Silalekha 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, Varana Gana Kotika Gana,Ucchanagari The dedication of an image by Dasa putra Ciri Vardhamana Thaniya kula. Fragment, Ayagapata 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 Kusana 95? 98 Sivayasha Ayagapata Ayagapata Mathuraka

Page #192
The Early Epigraphic Records of Mathura 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 Vardhamana by Vadhisiva 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

Page #193
192 The Jaina Stupa at Mathura: Art & Icons Figure nos. of this book Sr. Inscription Luders Jaina Accession Nos. nos. of List nos. Silalekha 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 Varana gana, Arya Hattakiya Kula, Vajanagari Sakhas, Shilastambha 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

Page #194
The Early Epigraphic Records of Mathura 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 sramanas with Three Ganas - (Kottiya, Varana and Udeha) as observed on Mathura Inscriptions: As we have seen at the time of Mahavira there were Ganas with their heads ganadharas but not the kulas. The reason behind is that, the ganadharas were handing over their ganas (a group of ascetics) to Ganadhara Sudharma (blessed with longetivity) and they were called the disciples of sudharma which continued upto Bhadrabahusvami -I. In his time sramanas increased so one of his disciple Godas first time introduced Gana known as Godasa. Afterwards other Ganas Kottika, etc. came into existence by his disciple traditions. Three Ganas - Kottiya, Varana and Udeha with their respective kulas and sakhas of seers are available on Mathura Inscriptions are given -

Page #195
194 The Jaina Stupa at Mathura: Art & Icons Kotika gana Brahmadasika |Kula Sthaniya Kula Vatsaliya Kula Prasnavahanaka Kula Varana Gana Arya Arya Hattakiya Bhistakula Kula Arya Cetiya kula Pusyami- triya Kula Atapika Kula Nadika Kula Pritivar- mika Kula Arya Kaniyasika Udeha Gana ParidhasikaKula Arya Nagabhutikiya kula Kottiya gana with its details 1. Brahmadasika Kula (Its Sakha is Ucchenagari) 2. Sthaniya Kula (Its sakha is Vairi) 3. Vatsaliya Kula 4. Prasanavahanaka Kula (Majhama sakha) Varana Gana with its details 1. Arya Hattakiya Kula 2. Arya Bhistakula 3. Arya Cetiya kula 4. Pusyamitriya kula 5. Atapika Kula 6. Nadika Kula 7. Pritivarmika Kula 8. Arya Kaniyasika Udeha gana 1. Arya Nagabhutikiya kula 2. Paridhasika Kula

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

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196 The Jaina Stupa at Mathura: Art & Icons Requested by Luders' List nos. Figure Saka year nos. of establi. Sakha and other details 47 Jain Type of Image Accn Sila. nos. nos. Arhat J 20 nandavarta or LM. Munisuvrata 54 Laksmi 49 53 54 55 Sarasvati Arya Vaira Sakha Vriddhahasti- the Vacaka Vacaka Arya Vairi Sakha, Deva, companion Srigriha of Ganin A. Sambhaga Manguhasti, the pupil of Vacaka A. Gastuhasti (Hastahasti) Vacakacarya Vairi Sakha, Deva, companion Srigriha of ganin A. Sambhaga Maghahasti, the pupil of Vacaka Hastahasti The ganin Vairi Sakha Arya Kharna the pupil of A. Vriddhahasti Vacaka Dhamatha the Vairigakha female pupil of Arya Arha 56 56 Rsabha 68 Vardhamana 3. Vatsalika Kula of Kottiya gana 25 27 Sarvatobhadra J.231 LM. A ganin .... Sambhoga and Vatsaliya kula 4. Prasnavahanaka Kula of Kottiya gana 73 66 B.5 MM. Bhattibala, Majhama Sakha,/ Prasnavahanaka Madyama Sakha kula,

Page #198
Varana Gana with its details Luders' Jain Type of Image Accn Figure Saka 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 Mathura Arya Hattakiya kula of Varana gana 17 4 41 Sarvatobhadra 44 Silastambha 32 40 Arya Bhistakiya Kula of Varana gana 52 Vardhamana 50 Arya Cetiya kula of Varana gana 45 Sarvatobhadra 44 Bhagavat Vardhmana Pusyamitriya kula of Varana gana 37 29 The female companion of Simhamitra, the female pupil of Sathisiha (Sasthisiha) the female pupil of Pusyamitra Ganin Arya Nandika Request of Akaka, 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 Vijayasree Nagsena pupil of Haganandi (Bhaganandi) the preacher Gahaprakiva pupil of ganin Arya Datta dedi. by Bodhinadi Sakha and other details 197 Vajanagari (Vajranagari). All are women disciples of Pusyamitra- here female pupile tradition is given. Established by the wife of Pratarika 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 Sakha Sakha is not mentioned

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198 The Jaina Stupa at Mathura: Art & Icons Requested by Figure Saka year nos. of establi. Sakha and other details Luders' Jain Type of Image Accn List no. Shila. nos. no. 5. Atapika of Varana gana 58 Atapika Pupil in Varana Grahabala who Gana was pupil of preacher Arya Karkuhasta, the donation is given by Vaihika to caturvidha sangh. Atapika No separate Grahabala thekula is required pupil of preacher for their Arya karkuhasta introduction. of Varana gana. In above both records gana is mentioned but not kula so it seems that monk Grahabala, the pupil of preacher Karkahast was Atapika performing austerity in sunlight. 6. 117 Nadika kula of Varana gana Bhagavat Rsabha ... sakha. Sadita sisini of ....dhuka preacher (vayuka) name Gavedhuka occurs in Kalpasutra 7. Praitivarmika kula of Varana gana 34 Vardhamana Only mentioned of above Gana and kula Sena the pupil Petivarmika Kula of Oghanandin who was preacher (Vacaka) in Varana gana Sena the pupil of Oghanandi

Page #200
The Early Epigraphic Records of Mathura 199 Sakha 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 Sakha 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 Nagabhutikiya kula of Udeha gana 21 24 J.6 LM Arya Jaya, sister of Vacaka Sandhika, the pupil of ganin Arya Buddhasri, - Odehikiya Gana, Arya Nagabhutikiya kula. 2. Paridhasika Kula Udeha gana 76 69 Mahavira Ganin Arya Devadatta's Arya Ksema. The daughter of pravaraka and daughter in law of perfumer 198 Petaputrika Sakha Luders Kusana 6.20 The table of image inscriptions with its details as noted in Luders List and Jaina Silalekha 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 Kusana 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 MathuraVI, 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. Silalekha 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 Varana Gana, Haritmala Sakha Sarasvati image

Page #203
202 The Jaina Stupa at Mathura: Art & Icons Details Ep. I. Volume In. Ant. Volume Other Volumes Luders Kusana 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, Aryavati 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. Varana, 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 Mahavira 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 Mathura 203 Details Luders Kusana 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 Ayagapata, Kosika, PothiyaSaka Ayagapata 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 Kusana Jaina Accn. no. List nos. year of est. Silalekha of Museum Sangrah-II, nos. 100 Ayagapata 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 Lonasobhika 102 Ayagapata 103 Ayagapata Mathuraka II, p. 200, no. 8 II, p. 201, no. 10, 104 Sculptured panel Jivanadatogether LL83 is Mahaksarapa time Sihanadika 105 Ayagapata 106 Ayagapata 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 Ayagapata Bhadranandi 108 Lahastini p. 29 Arch (torana) Waist band Parsva 109 110 Viena, Jorn. Sthaniya 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 Vardhamana 113 Varana Gana Ciri I, p. 393 Arya Kaniyasika kula Son of Dasa Thaniya kula Vajanagari Sakha 115 Vardhamana 33, p. 35 116 Varana Gana Usabha I, p. 393, no. 27 I, p. 397, no. 34, II, p. 206f, no. 28 117 Varana Gana, nadika kula 118 Vardhamana II, p. 208, no. 33 II, p. 208, no. 34 119 Vardhamana Arya Balattrata

Page #206
The Early Epigraphic Records of Mathura 205 Details Ep. I. Volume In. Ant. Volume Other Volumes Luders " Kusana Jaina Accn. no. List nos. lvear of est. Silalekha of Museum Sangrah-II, nos. 120 121 Usabha II, p. 208, no. 35 I, p. 389, no. 14 II, p. 209, no. 37 mo1389, Arya Jyeshtahasti Arya Jyeshhasti Sarvatobhadra VI, p. 219, no. 8 | 124 X, p. 109. Sarvatobhadra Saka- 9 Standing Jina Saka-12 Saka- 33 19. 20. 1565 MM Saka-35 B. 70 Saka-84 14. 490 Catalogue Seven Saka- 84 B. 4 Scythian Jina seated peri, fig. 56 Cat. Math. , Vacaka 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, Vardhamana p14 no11 Cat. MM. Kotiyato Standing p. 15. no. Vairi Sakha image 12 Cat. MM. Vridha The name p. 36, no. vacaka of town 47 Abhisara Saka-82 45. 3208 Saka-90 46. 3222 Saka-109 48. 3305 Saka period 12. 276 Other Kusana period images mentioned in Mathura Museum catalogue (1993) are less important except two which states that I) established at Arhatacaitya and II) with the word Thavayati for Pratisthapita. Medieval images mentioned in the catalogue are described in other chapters of this book.

Page #207
206 6.21 Mathura Image Inscriptions in Prakrit: EPIGRAPHIA INDICA No. I. A. 1. B. a. b. -- Translation c. The Jaina Stupa at Mathura: Art & Icons 55 de [va] putrasya ka [ni] Skasya saM 5 he 1 di 1 etasya pUrvva []]yaM koTTiyo gaNato bahmadAsikA [to ] 1. pAlasya dhi [] 2. vadhamAnasya prati [ mA] || No. II A. 1. B. 1. C. 1. kA zizIninaM aryyasaGgamikAye zizini D. 1. aryyavasulaye [ nirvartta ] naM 2. 2. [ku]lAto [3]cenAgarito zAkhAto se - hasya- senasya sahacarikhuDAye de [va] [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 (Vardhamana) ( was dedicated ) by khuda (kshudra), consort of alderman (sethi)..........sena (and) daughter of Deva.. pala, out of the Kottiya gana, the Bamhadasika kula, the Uchenagari sakha. -- saM 10 5 gR 3 di 1 asyA pUrvva []] hikAto kulAto aryyajayabhUti * lasya dhI [tu] - zreSTi[sya] dharmapatniye bhaTTi [se] nasya 2. 2. [ mAtu] kumaramitayo danaM bhagavato [] Vol. I d. 2. mA savvatobhadrikA [11] Translation -dhu veNi [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.

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The Early Epigraphic Records of Mathura 207 No. III A. 1. siddham / saM 10 9 va 4 di 10 asyAM pu 2. vA'yaM vAcakasya aryabala - 3. dinasya ziSo [vAca]ko aryamA4. tRdinaH tasya [ nirvvatana]A B. 1. [koTTiyAto gaNAto ThAniyAto] 2. [kulAto zrIgRhAto saMbhogAto] 3. [aryyaverizAkhAto suciC. [la]sya dharmyapatniye le - - - D. dAnaM bhagavato sa[nti] - - [pratimA A. 5. nAza - - - - - - tanaM B. 4. - T [na]mo arattatAnaM sarvvalokutta[mAnaM] 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 gana, the Thaniya kula, the Srigtiha sambhoga, the Aryya - Veri (Arya-Vajri) sakha....... Adoration to the Arhats, the highest ones in the whole world! No. IV A. 1. [siddhaM saM 20 gR 3] di [10] 7 [eta] sya pUrvAya koTTiya[I]to gaNAto brahmadAsiyAto kulAto ucce nAgarito zA]khAto [zrI]gRha[I]to saMbhogAto [bRhaMtava] caka ca gaNina ca ja[-mitra] sya - - 2. aryya [o]ghasya ziSyagaNisya [aryapAlasya zra[haca]ro [vAca]kasya arya[datta]sya ziSyo vAcako aryyasIhA [ta]sya nivvataNA [kho)TTamitta]sya mAnikarasya [go] jayabha[TTi] dhItu dA - sya B. 1. [lo]havANiyasya vAdhara - - vadhU [ha]ggu[deva]sya dharmapatniye mitrAye [dAnaM] - - - [sarvasa[tvAna] hi[tasa]khAye kAka[teya] - - - - - - kSa - - vAja ---- - - - - - - - - - - - - - - raja - - - - - - - - /

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208 The Jaina Stupa at Mathura: Art & Icons 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 Mittra, the first wife of Haggudeva (Phalgudeva), the daughter-in-law of the iron-monger Vadhara..., the daughter of... Jayabhatti, the manikara, of Khottamitta...... No. V A. 1. savatsare pacavize hemaMtama[se] tritiye divase vIze asmi kSuNe B. 1. koTTiyato gaNato brahma]dAsikato kulato ucenAgarito zAkhAto ayabalatratasya ziSo sadhi2. sya ziSini grahAM - - - f - vatana [nA]diAri]ta jabha[ka]sya vadhu jaya[bha]TTasya ___ kuTuMbinIya rayaginiye [va]suya [ / / ] 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 Nandigiri (?), (and) wife of Jayabhatta, the request (having been made) by graha.i...., the female pupil of Sadhi, pupil of the venerable Balatrata (Balatrata) out of the Kottiya gana, the Brahmadasika kula (and) the Ucheaagari sakha. No. VI A. mahArAja- - - Skasa saM 20 9 he di 30 asma kSuNe bhagavato vardhamAnasa prati[mA] pratiSThApitA grahaha[tha]sya dhitara sukhitAye bodhinAdi[ye] B. kuTuMbiniye vAraNe gaNe puzyamitrIye kule gaNisa arya[datasya ziSyasya] gaha[pra]ki[va]sa nirvarta[nA] ar[hN]tpujaaye| 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 Vardhamana 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. [ sidhdhaM] / saM 30 [5] va 3 di 10 asyAM] pUrvvAyAM koTTiyAto gaNato [ sthAni] yA [to ku - 1 C. The Early Epigraphic Records of Mathura Gahaprakiva (?), pupil of the vanerable Data, a ganin in the Varana gana and the Pusyamitriya (Pushyamitriya) kula, in honour of the Arhat. B. 1. vairAto za[]]kha[]] to zirikAto saM[bho] kAto aryyabaladinasya zizini kumarami [] 2. tasya putro kuma[]]rabhaTi gaMdhiko tasa - na pratimA vardhamAnasya sazitamakhita [ bo] dhita 1. a[] 2. kumAra 3. mitrA 4. ye 1. rvva D. 209 2. [ta]na [ / / ] 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 kottiya gana, the Sthaniya kula, the Vaira sakha (and) the Sirika sambhoka (sambhoga), (was) Kumaramitra (kumaramitra); her son (was) the dealer in perfumes, Kumarbhati; his gift (is) an image of Vardhamana (dedicated at ) the request of the whetted, polished and awakened venerable Kumarmitra. No. VIII A. siham ma[hA] rA [ja]sya ra [jA] tirAjasya devaputrasya huvaSkasya saM 40 [ 60 ?] hemantamAse 4 di 10 etasyAM pUrvvAyAM koTTiye gaNe sthAnikIye kule ayya [veri]yANa zAkhAyA vAcakasyAryyavRdhda hasti [sya ] - [sya ] - - [va] takasya ziSyasya gaNisya Aryyakha [rNa] sya puyyama [na][ka]- sakasya kuTumbinIye dattAye nadharmmo mahAbhogatAya prIyatA bhagavAnRSamazrIH / 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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210 The Jaina Stupa at Mathura: Art & Icons Kharnna, pupil of the preacher, the venerable Vsiddhahasti 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. sU - nama zara[sa]tamamaharajasya huvikSasya sava[tsa]re 40 4 hanagR[stha]masa 3 divisa 2 eti ] B. [syAM] purvayAM ] - - - gaNe aryaceTiye kule harItamAlakaDhiya [zAkha- - - - - - caka haginaMdia ziso ga - -nAgaseNasya ni- - 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) sakha..... No. X L. 1. sidhdam saM 40 5 va[3] di 10 [7] etasya purva[]ya - - - - - - - - - - ye budhdisya vadhuye dharmAvRdhdisyaTranslation 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. - - - 40 - he - di 10 B. 1. e[ta]sya pUrvA]ya varaNato ga[Na]C. 1. to AryahaTikiyato kulato D. 1. vajanagarito] za[I]kha[I][] zi[ri]yata[1] A. 2. - -[ga]to [da]tisya ziziniye B. 2. mahana[ndi]sya saDhacariye C. 2. bala[va]ye [nanda]ye ca ziziniye D. 2. [kaka]ye [nirvvartanA]- - -

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The Early Epigraphic Records of Mathura 211 A. 3. -[sya] dhItu grami[ka] jayadevasya vadhUye B. 3. -miko jayanAgasya dharmapatniye sihadatA[ye] C. 3. -[lathaMbha]o danaM = - 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 Sihadata (Simhadatta), the first wife of the village headman jayanaga, 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 (Mahanandin) (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. saM 80 6 he 1 di 10 2 dasasya dhitu pRyasya kuTuMbiniye - - - - 2. - - [ka]to kulato ayasaM[ggha]mi[ka]ya ziziniya ayavasula[ye] ni[va]tane [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 Vasula, pupil of the venerable Sangamika, out of the [Mehi]ka kula. No. XIII [saM 80 7?] gR 1 di [20?] a [smi] kSuNe uccenAgarasyAryakumAranandiziSyasya mitrasya............ Translation In the year 87 (?), in the first month of summer, on the twentieth (?) day, at this moment (?), of Mittra, pupil of the venerable Kumarnandi, of him of Uchchenagara......... No. XIV A. 1. sidhdam / / koTTiyAto gaNAto bramhadAsikAta[1] kulAto 2. u[ccenAgarito zAkhAto - rinAto saM[bha]o[gAto] Arya] - B. 1. jeSThahasti[sya] ziSyo] aryamahalo aryyajeSTha [hastisa] [zizo] arya[gA] Dhaka[o] [ta]sya zizini [aryya] 2. zAmaye nirvtnaa| u[sa] - pratimA varmaye dhItu[gulhA]ye jayadAsasya kuTuMbiniye dAnaM

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212 Translation Success! The pupil of the venerable Jeshtahasti (Jyeshthahahastin) out of the Kottiya gana, the Brahmadasika kula, the Uchchenagari sakha and the arina sambhoga (was) the venerable Mahala; the pupil of the venerable Jeshtahasti (Jyeshthahastin) (was) the venerable Gadhaka; at the request of his female pupil, the venerable Sama, (was dedicated) an image of Usabha (Rishabha), the gift of Gulha, the daughter of Varma (and) the wife of Jayadasa. No. XV ze eta[syAM] pUrvvAyAM koTTiyAto gaNAto....... 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 Vadhamana, [the gift] of.......... the daughter of kala, the sister (?) of Sinavishu (Vishnushena ?); the request of.................. sati (?). - 1. mA ahaMtAnaM zramaNazrAvikA [ye ] lahastinIye toraNaM prati [SThApi ] . arahaMtAnaM vadhamAnasya [ka] lasya dhitu sinaviSusya [stri][[]ya . [ za] ti]sya [nava]rtanaM [11] Translation 2. 3. saha mAtA pitihi saha 4. sazrU - zazureNa 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. sidhdaM [saM] 2. bhagavatI nAgendrasya dadhikarNasya sta[T] [da] 5 etasyaM pUrvvAyaM]

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The Early Epigraphic Records of Mathura 213 3. ne zilApaTTo pratiSThApito mAthurANaM] 4. zailAlakAnaM cAndakA bhratRkA iti vi[STra-] 5. yamAnAnaM teSaM putrehI nandibalapra6. mukhehi dArakehi mAtApitRNaM agra7. pratvazatAye bhavatu sarvasatvA[naM hita-] 8. sukhA[thai] bhavatu [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 Dadhikarna by the boys, chief among whom was Nandibala, the sons of the actors of Mathura, who are being praised as the Chandaka 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. [sidhdam / / ] mahArAjasya rAjAtirAsya devaputrasya vAhikaNiSkasya saM 7 he 1 di 10 5 etasva pUrvAyAM aryodihikiyAto / 2. gaNAto aryyanAgabhutikiyAto kulAto gaNisya aryyabudhdazirisya zivvo vAcako aryyasa[ndhi]kasya bhaginI aryajayA aryagoSTha - - - 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 [si]dhdaM saM 20 (?) [2] gri 2 di 7 vardhamAnasya pratimA vAraNAto gaNAto petivAmi[ka]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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214 The Jaina Stupa at Mathura: Art & Icons No. XXI L. 1. - dham sava 50 4 hemaMtamAse caturthe 4 divase 10 a 2. sya purkhAyAM koTTiyAto [ga]NAto sthAni[ya]Ato kulAto 3. vairAto zAkhAto zrIgRha[I]to saMbhogAto vAcakasyA-- 4. [hastahastisya ziSyo gaNisya aryamAghahastisya zrahacarI vAcakasya a5. Hdevasya nirvarttane govasya sIhaputrasya lohikakArukasya dAnaM 6. sarvasatvAnAM hitasukhA eka sarasvatI pratISThAvitA avatale raDgAAna[tana] o 7. me [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 Kottiya gana Sthaniya kula Vaira sakha 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]sadhdaM saM 90 5 (?) gri 2 di 10 8 koTTi[ya]Ato gaNAto ThAniyAto kulAto vaira[AtozA]khAto aryya araha - - - 2. zizini dhAma[thA]ye nirvartana[I] grahadatasya dhi[tu]dhanahathi - - - Translation Success! In the year 95 (?), in the second (month of) summer, on the 18th day,- at the request of Dhamatha (?), 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 vAraNAto gaNAto aryakaniyasikAto kulAto oda - - - Translation From the Varana gana, from the worshipful Kaniyasika kula, [from the] Od... (sakha)...

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The Early Epigraphic Records of Mathura 215 No. XXIV L. 1. [sidha] maharajasya vAsudevasya saM 80 haNa va 1 di 12 etasa pAyAM - - - 2. dhitu saMghanadhi[sya]vadhuye balasya - - - - 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 - - - - rSamAse 1 dIvase 30 asmi kSu - - - - Translation ......... In the first month of the rainy season, on the thirtieth day, at that time or, on that festival. ......... No. XXVI dAsasya putro cIri tasya dattiH( / / ) Translation Chiri, the son of Dasa; his gift. No. XXVII L. 1. [pratimA] vadhamAna[sya] pratithApitA 2. [ - - - ThAniyAto - la - - - - - - ta Aryaga]-- Translation An image of Vadhamana (Vardhamana) has been set up........ out of the Thaniya (Sthaniya)... ...... No. XXVIII A. L. 1. siddha sa [20] gRmA - di 10 5 koTTiyAto gaNato [Tha]NiyAto kulato verito zakhato zirikAto B. L. 1. - - gAto vAcakasya aryasaGagasihasya nirvartanA dAtilasya - - - - - - - mati2. lasya kuTuMbiNiye jayavAlasya devadAsasya nAgadinasya ca nAgadinaya ca mAtu

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216 The Jaina Stupa at Mathura: Art & Icons C. L. 1. zrAvikAye di 2. [nA]ye daanN|| 3. vardhamAnapra 4. tim| Translation Success! The year 20, Summer month 1, day 15,- at the request of the preacher (vachaka) Aryya-Sanghasiha (Arya-sanghasimha) out of the Kottiya school (gana), the Thaniya family (kula), the Veri (vajri) branch (sakha) and the Sirika sambhoga, an image of Vardhamana, the gift of the female lay-hearer (sravika) Dina (Dinna), the... of Datila.... the housewife of Matila, the mother of Jayavala (Jayapala), Devdasa, and Nagdina (Nagadatta) and Nagdina (Nagadatta). No. XXIX L. 1. sidhda sava 20 2 ni 1 di - - sya purvAyaM vAcakasya aryamAtridinasya Ni - - - 2. satavAhiniye dharmAsomAye dAnaM / / namo arahaMtAna 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. sa 40 7 gR 2 di 20 etasya purvayaM varaNe gaNe petivamike kule vAcakasya ohanadisya zisasya senasya nivatanA savakasya - 2. puSasya vadhuye giha - - [kuTibini ]- - - [puSa] dina[sva] [mAtu ] - - - ye 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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The Early Epigraphic Records of Mathura 217 No. XXXI A. 1. - - - - - - 5 asyi kSuNe - - - - - - - - - - - - - - 2. to Aryasukarasya ziSini - - - - - - - - - - - aya - - - B. 1. - - - - - - - - - - - - - - - - - [aryya] nAgadattA [vA] No. XXXIII L. 1. [na] mo arahato vardhamAnasya gotiputrasa poThayazaka 2. kAlavALasa 3. - - - kozikiye zimitrAye ayAgapaTI - - - - Translation Adoration to the Arhat Vardhamana! 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. [si]ddadha namo arahaMtANa - - - dana vAraNe gaNe ayahATTiAye] 2. kule vajanAgariyA zAkhAyA aryazirikiye saMbho - - - 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. [te ] - rUsanaMdikasa putrena naMdighoSena [te]vaNikena a - - ta -a le - - 2. NAnaM maMdire [A]yAgapaTA pratithApita [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 samanasa mAharakhitAsa AMtevAsisa vakkIputrasa sAvakAsa utaradAsaka()sa pAsAdotoranaM() 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 Maharakhita (Magharakshita).

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218 The Jaina Stupa at Mathura: Art & Icons No. II. L. 1. nama arahato vrdhmaans| 2. sva()misa mahakSatrapasa zoDAsasa savatsare 40(?)2 hemaMtamAse 2 divase 9 haritiputrasa pAlasa bhayAye samasAvikAye 3. kochiye amohiniye sahA putrehi pAlaghoSena poThaghoSena dhanaghona AyavatI pratithApitA 4. AryavatI arahatapujAye () Translation "Adoration to the Arhat Vardhamana! 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 pala, son of a Hariti (Hariti or Hariti mother), together with her sons Palaghosha (Proshthaghosha and) Dhanaghosha... the Aryavati (is) for the worship of the Arhat." No. III. L. 1. siddham ! namostvarhadAH 2. mahArAjamahAkSatrapama-- Translation Success! Adoration be to the Arhats !.... Maharaja, Mahakshatrapa ma... No. IV L. 1. bhadatajayasenasya AMtevAsinIye 2. dhAmaghoSAye dAno pAsAdo ( / / ) Translation "A temple, the gift of Dhamaghosha (Dharmaghosha), the female disciple of the venerable Jayasena." No. V L. 1a. namo arahatAnaM phaguyazasa __2a. natakasa bhayAye zivayazA 3a. - - f - - / - - - / - kAye 1b. AyAgapaTo kArito 2b. arahatapujAye ( / / )

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The Early Epigraphic Records of Mathura 219 Translation "Adoration to the Arhats! By Sivayasa (Sivayasas), wife of the dancer Phaguyasa (Phalguyasas), ...... a tablet of homage (ayagapata) 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 ] [-] for 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 Mahavira (Mahavira). A tablet of homage (ayagapata the gift) of... ita, wife of.. lavada (?), an inhabitant of Mathura." No. IX L. 1. HT BRENY (9] 2. ye GT[77] - - Translation An image of...... for the worship of the Arhats.... of Idrapala (Indrapala), the son of the Goti (Gaupti mother).

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220 No. X L. 1. ye jIvanAdAye Translation - "Of Jivanada (Jivananda)." No. XI L. A. sidhdhaM sa 4 gri 1 di 20 vAraNAto gaNAto aryahATTakiyAto kulato vajaNagarita zA] - B. puzyamitrasya zizini sathisihAye zizini sihamitrasya saDhacari C. dAti sahA grahaceTena grahadAsena 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 Pusyamitra...out of the Varana gana, out of the Arya-Hattakiya (Arya - Hattakiya) kula, out of the Vajanagari (varjanagari) sakha.... the gift...., together with Grahacheta (and) Grahadasa." sya va 5 gR 4 di 5 koTTiyA vAcakasya aryya No. XIII A. B. D Translation "In the year 5 of....., in the fourth (month of) summer, on the fifth day,-..... of the preacher (vachaka) Aryya..... (arya....) out of the Kottiya (gana)......., out of the.... sakha...." sa 108 gR 4 di 3 [ asyA pu] - [ya] saMbhogAto vacchaliyAto kulAto gaNi vAsi jayasya [sarvasa]vA[na] sukhAya bhavatu 1. 2. Translation - - [yA] to gaNa[to] [] zAkhA [] tu mAsigiye ( ? ) dAnaM sarvvata [] [dra] "The year 18, the fourth (month of ) summer, the third day, - on that (date specify as) above a fourfold [ image], the gift of Masigi ( ? ), ( 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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The Early Epigraphic Records of Mathura __ 221 221 No. XIV L. A. - - - - Sa 10 [8] va 2 di 10 1 __B. dhitu mi [tazi]riye bhagavato ariSTaNemisya [vevarta] ? - - 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. sa 30 1 va 1 di 10 asma kSuNe B. 1. - - yAto gaNato [Aryaverito zAkhato [ThA]NiyAto kulAto vaha[to] / kuTuMbiNiye[gra] 2. - - - - [arya] - dAsasya nivartanA budhisya dhitu devi lsy| ziriye dANaM / 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) sakha, the Thaniya (Sthaniya) kula." No. XVI A. 1. sidham / sava[tsa]re 30 / 2 hemantamAse 4 divase 2 vAraNAto gaNA - - - yAto[ku] (-)? 2. ----- - - - - - - B. 1. - Ni aryanandikasya nirvartanA jitAmitraya [ritu]nandisya dhItu budisya kuTumbiniye prA - 2. rikasya - no - f - pya mAtu gandhikasya arahantapratimA sarvatobhadrikA / 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 Jitamitra, 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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222 The Jaina Stupa at Mathura: Art & Icons No. XVII L. 1. paNa 50 hemaMtamAse pa - - - 2. Aryacerasya - - - - 3. ye yudhadinasya 4. dhita 5. pUSabudhisya - - - 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. sidha saMvatsara dvApanA 50 2 hemanta[mA]sa pratha-divasa paMcavIza 20 5 asma kSuNe kauTTiyAto gaNAta[1] 2. verAto zakhato sthAnikiyAto kulAta[o] zrIgRhato saMbhogAto vAcakasyAyaMghastuhastisya 3. ziSyo gaNisyAmaMguhastisya SaDhacaro vAcako aryadivitasya nirvartanA zUrasya zrama4. Nakaputrasya goTTikasya lohikAkArakasya dAnaM sarvvasatvAnanaM hitasukhAyAstu / 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 Kottiya gana the vera (vajra) sakha, the Sthanikiya kula (and) the Srigriha sambhoga. May it be for the welfare and happiness of all creatures! No. XIX L. 1. sidhdha sa 60 2 va 2 di 5 etasya puvaya vAcakasya Ayakarkuhasya[sa] 2. vAraNagaNiyasa ziSo grahabalo Atapiko tasa nivartanA 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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The Early Epigraphic Records of Mathura 223 No. XX 1. saM 70 9 va 4 di 20 etasyAM purvAyaM koTTiye gaNe vairAyAM zAkhAyAM - - 2. ko ayavRdhahasti arahato Nandi[A]vartasa pratimaM nirvartayati / 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-Vsidhahasti (Arya-Vriddhahastin), a preacher in the Kottiya gana (and) in the Vaira (Va-jra) sakha, gave the advice to make an image of the Arhat Nandiavarta (Nandyavarta)........ the image, the gift of the female lay-disciple Dina (Datta), wife of..., was set up at the Vodva Stupa, 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 Ayika-Jiva (Aryika-Jiva) - Grahasiri (Grahasri)....... No. XXII L. 1. Ha [80a] ------------ garty face get 2. t - - a [0]at 4 - a[E] - [] at forlat THC yat[at] - - sanikaya bhatibalAye - bhini 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 Majhama sakha and the Pa-vaha-ka kula, which latter I have formerly identified with the Prasnavahanaya kula or Panhavahanaya 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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224 The Jaina Stupa at Mathura: Art & Icons No. XXIII L. A. 7 37 Hellappa A 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 Mahavira (Mahavira)! The year 93, the..... (month of) the rainy season.. ...at the request of the gaai Nandi (Nandi) pupil of....an image of divine Varddhamana was set up by....., the daughter of the gold smith Deva, for the worship [of the Arhat]" No. XXIV sa 90 8 he 1 di 5 asma kSuNe ka[1]TTiyAta[1] gaNAto ucanaga - - - Translation The year 98, the first month of) winter, the fifth day, at that moment, - out of the Kottiya gana, the Uchanagari (Uchchanagari) [sakha)......... 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 Maharaja 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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The Early Epigraphic Records of Mathura 225 No. XXVII L. 1. sidham mahArAjasya rAjAtirAjasya - - - - - 2. ohanandisya ziSyeNa se - na - - - - - - Translation "Success! Of the great king, the supreme king of kings.... by Sena, the pupil of Ohanandi (Oghanandin)"..... No. XXVIII L. A. - - bhagavato usabhasa vAraNe gaNe nADike kule - - - - - - khA [yaM] - - B. Dhukasa vAyakasa sisinie sAditAe ni - - - 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. stha[]nikiye kule ganisya uggahiniya ziSo vAcako ghoSako Arhato parzvasya pratimA 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. namo arahaMtAnaM sihakasa vAnikasa putreNa kozikiputreNa 2. sihanAdikena AyAgapATo pratithApito ArahaMtapujAye [11] Translation "Adoration to the Arhats ! A tablet of homage (ayagapata) 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 namo arahaMtAnA zivagho [Saka]sa bhari[yA]- - - - nA - - - - - nA - - Translation "Adoration to the Arhats!..... the wife of Sivaghoshaka........."

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226 The Jaina Stupa at Mathura: Art & Icons No. XXXII L. 1. namo arahaMtAnaM [mala]- Nasa dhitu bhadrayazasa vadhuye bhadranadisa bhayAye 2. [calA]ye A[yA]gapaTI pratithApito arahatapujAye [1] Translation "Adoration to the Arhats ! A tablet of homage (ayagapata) was set up by Achala (?), daughter of Mala-na (?), daughter in-law of Bhadrayasa (Bhadrayasas), and wife of Bhadranadi (Bhadranandin), for the worship of the Arhats." No. XXXIII L. A. vardhamAnapaTimA vajaranadyasya dhitA vAdhiziva - - - - - B. 1. - - sya - kuTIbini dinAye dAti baDima[zi]ye - - - - 2. - - - - - - ----- Translation "An image of Vardhamana, the gift of Dina (Datta), daughter of Vajaranadya (Vajranandin), [daughter-in-law] of Vadhisiva (Vriddhisiva?) house-wife of..... i; Badimasi's (?)"....... No. XXXIV L. 1. ucenagarito zakhato aryabalacatasya zisiNi aryabahma - - - 2. aryabalacatasya ziSyo aryasandhisya parigrahe navahastisya dhitA grahasenasya vadhu - - - - - 3. givasenasya devasenasya zivadevasya ca bhrAtrinaM mAtu jAyaye pratimA pra - - - - - 4. [mA]nasya sarvvasatvAnaM hitsukhy|| Translation "For the acceptance of Aryya -Sandhi (Arya-Sandhi), pupil of AryyaBalattrata (Arya-Balalrata) [and of ?] Aryya-Bahma,... (Arya-Brahma..), the female pupil of Aryya-Balattrata (Aryya-Balatrata) out of the Uchenagari (Uchchanagari) sakha, Jaya, 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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The Early Epigraphic Records of Mathura 227 No. XXXV L. A. tiye nirvartanA B. 1. to zakhatA zirikato saMbhokato aryya 2. f - dharAye nivatanA zivada [ta] - 3. - - lanasya matu ha[sta] - - - Remark-Translation is not given except the remark of the same wods "Nirvatarma and Nivatana". No. XXXVI L. 1. - - 50 (?) he 2 di 1 asya purvvaya varaNato gaNato ayyabhyistakulato [sa] 2. khato zirinihato sabhogato bahavo vacaka ca gaNino ca samadi [a] - 3. - vasya dinarasya zizini ayyajinadasipaNatidharitaya zizinia - - . 4. ghakaravapaNatiharamasopavasini bubusya dhita rajyavasusya dharma - - 5. [da] vilasya matu viSNu[bha]vasya pidamahika vijayaziriye dana vadha - - 6. - - - - - - - --- Translation ".... 50, (?) second month of winter, first day, on that (date, specified as) above, [an image of] Vadha [mana] (Vardhamana), the gift of Vijayasiri (Vijayasiri), daughter of Babu, first wife of Rajyavasu (Rajyavasu), mother of Devila paternal grandmother of Vishnubhava, 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. sidha ko[TTiyato gaNato ucena - ___2. garito zakhato bamhAdAsiato 3. kulato zirinihato saMbhokato ___4. ayyajeSTahastisya ziSyo aryami]hi[lo] B. 1. ttasya ziSya[1] aryakSera 2. [ko] vAcako tasya nirvata - 3. na vara[Na]hasti[sya]

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228 The Jaina Stupa at Mathura: Art & Icons C. 1. [ca] deviya ca dhita jaya 2. devasya vadhu moSiniye 3. vadhu kuThasya kasuthasya _D. 1. dhamrapa[ti]ha sthirae 2. dana zavadobhadrika 3. sarvasatvana hitasukhaye Translation "Success! The pupil of Ayya- Jeshtahasti (Jyeshthahastin) out of the Kottiya gana, the Uchenagari (Uchchanagari) Sakha, (and) the Bamhadasia (Brahmadasika kula) (was) Aryya-Mihila (Arya-Mihira); his pupil (was) the preacher (vachaka) Arya-Ksheraka (Arya-Kshairaka?); at his request a fourfold (image was dedicated as) the gift of Sthira, 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 saMvatsare saptapaMcAza 50 7 hemandhatrito - - se [di]vase trayodaze a - pUrvAyAM - 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. sihm| paramabhaTTArakamAhArAjAdhirAjazrIkumAraguptasya vijayarAjyasaM [100 10]3ka - - - - ntamA - - [di] - sa 20 asyAM pUrvAyA]koTTiyAM gaNA2. dvidyAdharI [to] zAkhAto datilAcAyyaprajJapitAye zAmADhyAye bhaTTibhavasya dhItu grahamitrapAli[ta] prA[tA]rikasya kuTumbinIye pratimA prtisstthaapitaa| 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 (Syamadhya),daughter of Bhattibhava (and) house-wife of the ferryman.

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The Early Epigraphic Records of Mathura 229 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 Sivasirisya vadhu Ekaralalasya 2. 2 Kottiyato ganato [A]rya Tar[i]ka[s]ya kutumbiniye 3. 3 Thaniyato kulato Vairsa]to [sakha]to [ni]vartana Gahapalaye dati. Translation "Success. In the year 9, the third (month) of winter, the tenth day; the gift of Gahapala, the wife of Ekradala, the daughter-in-law of Sivsiri and the daugher of Grahamitra, at the request of the venerable Tarika out of the Kottiya gana the Thaniya (Sthaniya) kula (and) the Vaira (Vajra) Sakha." 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 purvayam Kottiya [ga]nato Ba[m] bhadasi[ya]to kulato U[chena]garito sakhato gani[s]ya Aryya Pusi[lasya] sisini Datila ...ti Harinan[di] sya bhaginiye nisvar] - tana savikanam vaddha[ki]ninam Jinadasi Rudradeva Dattagala Rudrade[va] sami[na] Rud[ra]. [gahami]tra... Kumarasiri Vamadasi Hastisse]na Grahasiri Rud[r]adata Jayadasi Mit[r] asiri... 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, Rudradeva,

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230 The Jaina Stupa at Mathura: Art & Icons Rudradeva-sami of Dattagala, Rudra..... Gahamitra (Grahamitra)...... Kumarasiri (Kumarasri) Vamadasi (Brahamadasi or Vamadasi) Hastisena, Grahasiri (Grahasiri) Rudradata (Rudradatta) Jayadasi Mitrasiri..... at the request of........ the sister of datta... Harinandi the female pupil of the venerable Pushila out of the Kottiya gana Bambhadasiya (Brahamadasiya) and the Uchenagari (Uchchanagari) Sakha. V - Inscribed Image Of Sambhavanatha In The Year 48 1. Maharajasya Huvakshasya sa[m]vachar(e) 40 8 va 2 d [i] 10 7 etasya puvayam K[otti]ye [gane] Bama [da] [si]ye k[u]le Pachanagariye sakaya Dhujhavalas[ya] sisin[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 Maharaja Huvaksha; on that (date specified as) above, an image of Sambhava was set up by Yasa, 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 (da)siya (Brahmadisiya) kula and Pachanagari (Vajranagari) sakha. VII - Inscribed Jaina Image, The Year 58 1. Sdha [m] Nama Sara[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 Haritamalakadhi [yato] sa...... [va] chakas[y]a Hag[i]n[a]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 Haritamalakadha (Haritamalagadhi) sa[kha].

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The Early Epigraphic Records of Mathura 231 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 tiya(?) Munasimita(?) 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 (Sam 70) 4 gra 1 di 5 Aya Varanato ganasto)..... A. 2 [ku]lato Vajanakarito sakha[to] Ayasirik[ato] B. 1. Nadhanasya vachakasya sisiniya A[ryya] B. 2. C. 1. Gahavalaye panatidhariye sisiniye Aryadasiye C. 2. 1. [deva sya kutu[m]biniye Dharavalaye dati D 2. sasuye Translation (In the year) [7]4, the 1st (month) of summer, the 5th day.......... the gift of Dharavala, the wife of............... deva ............ [at the ....... Aryadasi (Arya-dasi), the femail pupil, who obeys the command Gahavala..... of......... sa................... the venerable............ female pupil of the preacher..........nadhana....... out of the venerable

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232 The Jaina Stupa at Mathura: Art & Icons Varana[Varana] gana, the .......... kula, the Vajankari (Vajranagari) sakha (and) the Ayasirika (Aryasrika) [sambhaga] X - Inscribed Image From Mathura, The Year 80 1. Sdhi Maharajasya V[a]sudevasya Sa[m] 80 hamava 1 di 10 2 etasa purvvayam sa[va]ko [sa]... 2. dhita Sa[m] ghanadhisa (?) vadhuye Balasya......... Translation "Success, In the year 80, the first (month) of winter the 12th day of the Maharaja Vasudeva - on that (date specified as) above the daughter of the lay hearer Sa.....the daughter-in-law Samghnadhis ......of Bala.. XI - Inscribed Base Relief, The Yrar 99: 1 S(i)ddha(m) Sam 90 9 gri 2 di 10 6 Kottiyato ganato Thaniyato kulato Vai(ra) to sakhato Arya Sura (po)...... 2 (si)sini Dhama(si)r(i)ye niv(a)rtana... Grahadatasya dhi(ta) Dhanahathi...... A. Anagha (Sre)shthi Vija. B. Kana Srama(na). 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 gana, the Thaniya (Sthaniya) kula and the Vaira(Vajra) sakha." "Vija (Vidya)" "The ascetic Kana (Krishna)". XII - Inscription On A Coping Stone: Gotiputrasa Utarasa sovan(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 Pusabalaye dane Dhama2 vadhakasya (bha)yaye. Translation "The gift of Pusabala, the wife of Dhamavadhaka (Dharmavardhaka)."

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The Early Epigraphic Records of Mathura 233 XV - Fragment Of An Inscribed Pavement Slab: Gosalasya dhita Mitraye (danam) Translation "(The gift) of Mitra, the daughter of Gosala" XVI - Fragment Of An Image From Ramnagar: 1. .......naka gana (?) Dhananyanasya ta ....aya (ye) (ye A)dh(i) chchhatrakaye........ 2. (nivar)tana. Translation "............naka gana (gana).... Of Dhananyana .....the venerable...... of..... at the request of ...... (Adhi)chchhatra...." XVII - Fragement Of A Tablet: 1. ..........(Amogha)dattasya bharyaye ko(ts)ye 2. ...........(Pratistha)pita....Arhanta pu(jaye). 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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234 The Jaina Stupa at Mathura: Art & Icons 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, Ayagapatas, toranas etc. obtained from Kankali Tila 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 (Bihara) 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 Acaryas 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 Sakhas 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- Manabhuma, Virbhuma, Sihabhuma, Baradhamana, Puralia, 24 Paraganas 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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236 The Jaina Stupa at Mathura: Art & Icons occasion, Satvahana king gifted giant ships for carrying elephants as per inscription. The excavation at Vaddamanu in Guntur district in Andhra Pradesa reveals that it was originally a Jaina centre, even the name Vaddhamanu sounds like Vardhamana. The rulers of Andhra and Karnataka- Calukyas (early and late), Rastrakutas 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, Hanumankonda, Vijayavada, Kollipake, etc. thrived as the meridian of Jaina activities while the great poets Somdevasuri, Ponna, Pampa and Ranna 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 Cola, Pandya 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 Maha-kavyas of Tamil literature- Naldiyara, Silappadigram, Jivakacintamani and Kundalakesi are composed by Jainas. Even Tiruvalluvara's Kural also said to be written by Jaina Acarya. Towards Simhal Island (Ceylon) : From Tamilnadu Jainism spread to Simhala Island (Ceylon) in early Christian era, as per the Buddhist scripture Mahavamsa, which mentions about the king Pandukabhaya who patronised Nirgratha Sramanas4. When Buddhism entered Ceylon, the Jainas were pushed back from Anuradhapur 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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Spread of Jainism 237 of Malabara, Kocina and Travankore. The ancient Jaina cave shrines under the patronage by Cera Kings in kerala are either destroyed or appropriated. The cluster of three Carana caves near Citral, though one is converted but two are dedicated to Parsva and Mahavira 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 Bhagavan Jinendra or Siddham. One inscription of donation by Kakusthavarma is of Gupta Samvat 80, while other inscriptions are of later period, from Palasika and Khetagramas villages. His grandson was a famous king Mrigesavarma 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 Kalavanga village after dividing in three parts- one for a Jaina shrine second for Svetambaar Sangha and third for Nirgantha Mahasramana?. 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 Yapaniya, Nirgantha and Kurcakas8. 7.4 The Journey of Second Group: Now the second group commence their journey from Bihar to Mathura via Ahicchatra and Pabhosa. The cave inscription of king Asadhasena at Pabhosa for Kasyapiya Arhat is of 1st B.C. The second inscription (2nd B.C.) at the same place we get the genealogy of king Asadhasena 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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238 The Jaina Stupa at Mathura: Art & Icons legend regarding the establishment of three ancient images (Sankhesvara, Khambhata and Carupa) by Sravaka Asadhi, he might be the same. At Mathura many inscribed artefacts from Jaina stupa since 2nd B.C. strengthened the existence of Jaina Sangha. The donation records on Ayagapata and on other sculptures confirm the influence of Mathura city among the followers of Jainism in India and abroad. Jaina Sangha at Mathura welcomed the lay followers who established images, toranas, 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 torana of Uttaradasakall and Ayagapata of Aryavati12 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 Mathural3. After reaching Mathura the group dispersed in two batches, first wended to proceed to Vidisa and other choose the way to Rajasthan and Gujarat. The Udaygiri caves at Vidisa exhibits the existence of Jainism from 1st B.C. onwards. The group further proceed to Amaravati, Bhadravati and then reached to North-west Karnataka. The Rajasthana group first settled at Sirohi and Sadadi, then at Avanti, Badanavara, and Mandasor (Dasapura) in Malava while in Gujarat at Dhank, Valabhipur and Talaja. The group further proceed to Maharashtra (via Bharuaccha) at Sopara, Kalyan and Poona, afterwards settled at Dharwara in Karnataka. A Jaina Gaccha named Soparaka originated from Sopara. One donation record of late Gupta period at Navsari shows the Jainas' settlement in between Bharucha & Sopara. 7.5 The Gathering of both Groups: In Karnataka 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 Mrigeshavarma at Halsi and Dharwara. They donated land for the use of Bhagavat arhat maha Jinendra devata, Svetapatta maha-Sramana-Sangha, Nirgrntha-mahaSramana-Sangha, Yapaniya, Nirgrantha and Kurcchakas. 11 Ep.I. vo.-,no. 12 Ep. I.vo. II, no. 20. , 13 Puri B. N., "Jainism in Mathura in the Early Christian Era", in Shri Mahavira Jain Vidyalaya G. J. V., Bombay, 1968.

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Bibliography (I) Sources : Jaina Abhidhana cintamani parts I-II, Hemcandra, Bhavnagar, 1915 and 1920. Abhidhana Rajendra-Kosa, Vijay Rajendra suri, vo.1-7, Ratlam, 1913-37. Second edi. 1985. Acara-Dinakara Vardhamansuri, a translation and thesis by Dr. Moksagunasriji, Prachyavidyapitha, Shajapur (M.P.), 2005. Acaranga-sutra, Agamodaya Samiti, Mehasana, 1916. Acaranga-sutra, translated by H. Jacobi, Sacred Books of the East, vo. XXII. Oxford, 1884. Acaranga-curni, Jinadas, Ratlam, 1941. Antagada-dasao, L.D. Barnet, Varansi, reprint, 1973. Aupapatika-sutra, Abhaydevasuri, ed., by Pandit Bhuralal Kalidas, Bombay, 1938. Adipurana, Mahapurana, Jinasena vols I-III. Jnanapitha, Murtidevi Jain Granthamala nos. 8-9. Banaras, 1944-45. Avasyaka-curni, Jinadasa gani, Rishabhdas Kesarimal Pedhi, Ratlam, 1928. Avasyaka-nirukti, Bhadrabahu, Agamoday Samiti, Bombay, 1916. Avasyaka-vritti, Haribhadra Suri, Agamoday Samiti, 1916. Bhagavati sutra, with comm. of Abhaydevasuri 3 vols. Agamodaya Samiti Mehasana. 1918-21. Bhagavati-aradhana - P. Kailashchandra Shastri, Shri Hiralal K. Doshi, Falatana, Bakharikar, 1990. Brhat-katha-kosa, Harisena, edited by A.N. Upadhye, Singhi Series no. 17, Bombay, 1943. Brhatakalpa-sutra, Brahatkalpa-bhasya and Brahat-kalp-nirykti,, edi. By Muni Shri Punyavijayji, 6 vols. Atmananda Sabha, Bhavanagar, 1933-1951. Jambudvipa Prajnapti, with commentary of Shantichandra, 2 vols. Devachand Lalbhai Jain Pustakoddhara Fund, Bombay, 1920. Jain Silalekha Sangrah-II, Manikachandra Digambara Jain Granthamala Samiti, Hirabag, Bombay, 1952.

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240 The Jaina Stupa at Mathura: Art & Icons Jivajivabhigama-sutra, with comm. of Malaygiri, Devachand Lalabhai Pustaka. Fund, no. 50, Bombay, 1919. Jnatadharma-katha, edi. with comm. A. Mahaprajna, Jain Vishwa B., Ladanu, 2003. Harivansa-purana, Jinasena, ed. and trans. By Pannalal Jain, Banaras, 1962. Kalpasutra-subodhika Tika, Devachand Lalabhai, Jain Pustakoddhar Fund, Bombay, 1923. Kasayapahuda, Shri Digambar Jain Sangh Granthmala, no. 9, Chorasi, Mathura, Kailash Press, 1963. Maha Nisitha sutra, Dipratnasagar, Shitalnatha Society, 14/4/2000, Agam Prakashan, Byavar (M.P.) Mulacara, edi. Dr. Fulachand Jain, Bharat. Anekant Vidvat P., 1996 A.D. Malayagiri-tika, Trans. Pd. Kulchandra Vijayji, Aadinath Jain Sve. Pedhi Trust, Chikpet, Bangalore, vks. 2052. Nisitha-curni, part-3, Diparatnasagar, Shitalnath So. Agamsutra Pra. Byavar. Nitya Patha Samgrah, ed. By Sarabhai Nawab, Mumbai, Meghraj Pustak Bhandar, 1941. Panca pratikramana sutra, Shri Godiji ni Pedhi, Bombay. Paumacariyam, Vimalasuri, edi., by Jacobi H., Bhavanagar, 1914, Varanasi, reprint, 1962. Pancastikaya-sara, Pd. Manoharlal Jain, Paramsrut Prabhavak Mandal, Shrimad Rajchandra Asram, Agas, Gujarat, 1986. Prasna-vyakarana, Agamoday Samiti, 1975. Pravacana-sara, Dr. Hukamchand Bharilla, Pd. Todarmal Sarvoday Trust, Bapunagar, Jaipur, 2008. Rayapasenium-suttam, edi. Pt. Bechardas, with comment. of Abhaydevasuri, Ahmadabad, Vik Sam. 1944. Sthananga-sutra, Ghasilal, Rajkot, 1964. Samavayanga-sutra, with comm. Of Abhaydevasuri, Agamoday Samiti, Mehasana. Satkhandagama, Jain Sanskriti Samraksak Sangh, Sholapur. Samvayanga-sutra, trans. by Malavaniya, Gujarat Vidyapith, Ahmedabad. Tatvartha sutra, Sukhalal Sanghavi, Banaras, 1952.

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Bibliography 241 Tiloyapannatti. Yatirishabha, vols- I-II, ed. By A.N. Upadhye and Hiralal Jain, Sholapur, 1943, 1951. Upasaka-dasanga-sutra or Uvasakadasao, with comm. Abaydevasuri, Atmanand Sabha, Bhavanagar, 1920. Uttaradhayayana-sutra, Atmanand Sabha, Bhavanagar. Upadesa Saptati- Prabandha, Atmanand Sabha, Bhavanagar. (II) Sources non Jainas Arthasastra by Kautilya, edi. R. Shamshastri, Mysore, 1919. Digha-nikaya, 3 Vol., edited by Rhys Davids and J. Charpentier, London, 1889-1911. Garuda Purana - Ek adhyayana, A. B. L. Avasthi, Lucknow, 1968.. Lalitvistara, ed., by Rajendralal Mitra., Calcutta, 1877.: Pali Dictionary, Pali Text Society, London. Mahabharata, with comm. of Nilakantha, Chitrasala press, Poona, 1929-33. Ramayana of Valmiki edi by Mudholkar Shastri, 7 vol., Bombay 1914. Rigaveda, Samhita, by Max Muller, 2nd edi. 1890-2 Susruta-samhita, 3 vols., trans. by Kavi Kunjalal, Varanasi, Chowkhambha Sanskrit series. Vacaspatyam, Rashtriya Sanskrit Sansthan, 56-57, Janak Puri, Delhi, IInd Edi., 2006. Yajnavalkya-smruti, Visa Smritiya Sagar, Sanskiti Snstha, Bareli, 1994. (III) Other Books and Articles Agrawal V. S. - Mathura Museum Catalogue, part III, 1952. Ancient Indian Folk Cults, Varanasi, 1970. A New Stone Umbrella from Mathura, JUPHS, Lucknow, vol XX, 1947. Studies in Indian Art, Varanasi, 1965. Article on 'A note on God Naigmesa' Journal U.P.H.S. Vol. XX PT I&II 'Mathura Ayagapata', in J.U.P.H.S., vol. XVI. Master Pieces of Mathura Sculpture, 1985.

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242 Pre Kushana art of Mathura, Varanasi, 1966. Bhartiya kala, Varanasi, 1966. Agrawal P. K. - The Jaina Stupa at Mathura: Art & Icons Mathura Railing Pillars, Varanasi, 1966. Apte Vaman Shivaram - Sanskrit-Hindi Dictionary. Bajapayee K. D. - Early Inscriptions of Mathura, Some New Mathura Finds, JUPHS, vol.-XIX, Lucknow, 1948. Banerji R. D. - "New Brahmi Inscriptions of the Scythian Period" E.I. Vo. X, Calcutta, G. Printing India, 1912. B. C. Bhattacarya Jain Iconography, Lahore, 1939. Bulhar G. - Specimens of Jaina Sculptures from Mathura Ep.I. vol. II, 1894. Further Jaina Inscriptions from Mathura, Ep.I. vol. II, 1894. New Jaina Inscriptions from Mathura, Ep.I. vol. I, 1892. The Indian Sect of Jainas, 1963, Chanda R. P. - " 'Note on Pre- Historic Antiquities from Mohan-jo-Daro,' Modern Review, Calcutta, 1924. Chanchreek K., Jain Mahesh Jain Art and Architecture, Shri Publishers & distributers, New Delhi. Coomarswami - - History of Indian and Indonesian Art, London, 1927. Yaksas, Parts, I-III, Washington, 1928. 1931. Conqueror's Life in Jaina Paintings, Journal of the Indian Society of Oriental Art, Vol. III, 1935. Cunningham A. - Archeological Survey of India Annual Report Vol. III, XVII and XX.

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Bibliography 243 Desai M. D. - Jaina Sahityano Samksipta Itihas (Gujarati) Bombay, 1933. Diksitar V. R. Ramchandra - Origin and Early History of Caityas, I.H.Q. vol. XIV, 1938. Elliot and Dowson - History of India as told by its own Historians. Vol.- II (1869), IV and IV in 1872 London. Devavimal - HirSaubhagyam- Rasa, Mumbai, Nirnayasagar, 1900. Dhurandhargani Vijayaji - Namaskara Svadhyaya, Mumbai, Jain Sahitya Vikas Mandal. Deo S. B. - History of Jain Monarchism, Poona, 1956. Doris Meth Shrinivasan - "The cultural Heritage' ed. AIIS, New Delhi. 1989. Fuhrer A. - North Western Provinces and Oudh Monumental Antiquities and Inscriptions, Allahabad, 1891. Gosh - "Art pilgrimage through Greece", in Discovery of Asia, Gosh A. - Jain art and Architecture, vol., 1, New Delhi, 1974. G. Jawaharlal - Jainism - origin and Growth, Rajmundry, Shri Laksmi Ganapati IMAGES, 2014 Growse F. S. and Oxon M.A. - Mathura; A district Memoir; Delhi, Pilgrims Book Pvt. Ltd. 1st edi. 1874, 2nd 1880, 3rd 1883. Handiqui, K.K. - Yashastilaka Champu and Indian culture, Sholapur, 1949.

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244 The Jaina Stupa at Mathura: Art & Icons Jacobi - Sacred Books of East, vol., XXII Jamkhedkar A. P. - "Naigamesha: A Reconsideration in the light of a Vedic Rituals", in Vasudeva Smriti Samiti, ed. Agrawal P. K., (Varanasi. 2014). Jain J. P. - 'Pramukh Aitihasik Jaina Purusa Aura Mahilayen', Poddar Abhinandan Grantha, 1975. Jain Sagarmal - Jain dharma ka samksipta Itihas, Shajapur, Prachya Vidyapitha, 2003. Jaina Dharma Ka Yapaniya Sampradaya, Article on "Srutadevi Sarasvati in Ardha Magadhi Literature" in., Titthayara, July, 2009. Svetambar Mula samgha avam Mathura samgha- ek Vimarsha, Jain Vidya ke Ayama, V. 6, 1998. An article on Angavijja me Jain Mantro ka Pracina Svarupa' in Jinavani march 2005. Jain Vidya ke Ayam, Parsvanath Sodha Sansthan, 1998. James Burgess - Digambar Jaina Iconography, Varanasi, reprint, 1979. Jinaprabhasuri - "Nabhinandanoddhara Prabandha, Atmanand Sabha, Bhavnagar. Vividha-tirtha-kalpa, edi. Muni Jinvijayaji (Calcutta- Bombay, Simghi Granthamala-10, 1934), Joshi N. P. - Article "Early Jaina Icons from Mathura", in, 'The cultural Heritage', AIIS, 1989. Jitendrakumar and Giriraj Prasad - Catalogue of Jaina antiquities, Mathura, Government Museum, Mathura, 2003. Joshi N. P. and Sharma R. C. - Gandhara Sculptures in the state museum, Lucknow

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Bibliography 245 Kramarisch Stella - Indian Sculptures, Calcutta, London, 1933. Patana Museum Catalogue of Antiquities, (1965) Kalyanvijayjigani - Pattavali-paraga, Chunilalji, Shanmalji, Jalor, 1966 AD. Laufer B. - Citra laksana, 1913. Leonard, Wooley - Excavation at Ur, London, 1954. Lohuizen de Leeuw J. E. Van - The Scythian Period, Leiden, E. J. Brill, 1949. Luders Henrich - A list of Brahmi Inscriptions from Early Times to 400 A. D. Epigraphia Indica, vol. X, Appendix. Mathura Inscriptions, edited in 1961 Mathura Inscriptions unpublished papers, edi. Klaus L. Janert, publ. cottingen- Vandenhoeck and Ruprecht 1961 Majamumdar R.C. and A. D. Pusalkar, ed. --- The Classical age, Bombay, 1954. Mahaprajnaji - Jaina Parampara ka Itihas, Jain Visva Bharti Prakashan, 1994. Marshall, Sir John Mohen-Jo-Daro and Indus Valley Civilisation, (London, 1931) V- 3 Motichandra - Trade Routes in Ancient India, New Delhi, 1977. Sarthavaha, Patna1953. Pandeya H. - "Jain Vanmaya me Astamangala-ek Addhyayana", Tulasi Prajna, publication, (Ladanu, April-June, 2006)

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246 The Jaina Stupa at Mathura: Art & Icons Porwal R. - Yognishtha Buddhisagarsurisvarji - Ek Addhyayana, Shri Simndhar Swami Pedhi, Mehasana, 2003. 'Findings of Bhagavanlal Inraji Bhatt at Sopara', paper presented at 42nd All In. Ori. Conf., Varanasi, 2004. "Iconography of Sarasvati in Jaina Tradition paper presented at 43rd All In. Ori. Conf., Jammu, 2006. 'Jinaprabhasuri and his Account on Mathura in Vividha-tirtha-kalpa paper presented at 44th All In. Ori. Conf., Kuruksetra, 2008. Moksadayi Mathura- Hamari Dharohara (Hindi), Jain Jagat, Bharat Jain Mahamandal, Bombay, 2008. "The Suare Matrices and the Precise Arrangement of Numbers in Jaina Yantas' paper presented at Jain Visvabharti, Ladanun, 2009. 'Jinaprabhasuri's Account on Mathura..' in 'Sambodhi' publication by L.D. Insti. 2011. "The Concept of Salbhanjika in Jaina Scriptures and Sculptures' paper presented at 45th All In. Ori. Conf., Tirupati, 2010. 'Jivantswami/Mahavira in Jaina Tradition' paper presented at 73rd Indian History Congress, held at B. U. 2012. 'Sarvatobhadra Images from Kankali Tila- Mathura' paper presented at 46th All In. Ori. Conf., Srinagar, 2012. "Jain Sthapatya-kala', Prabuddha Jivan (Gujarati), Mumbai, 2014. 'Jaina Stupa ni Kala Sampada' an article (Gujarati), Arihant Publishers, Bhavanagar, 2014. Pramansagarji - Jain Dharmdarsana, Shri Jnanchandra Imaliya, Digmbar Jain Panchayat, Lalitpur, U.P., 5th Edi., 1999. Prasad H. K. - "Jaina Bronzes in the Patana Museum", Golden Jubilee vol. (Mumbai, Shri Mahavira Jain Vidyalaya. 1968) Rajendrasuri - Abhidhana Rajendra-Kosa, Prabhakar Printing Press, Ratlam.

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Rastogi S. - Lakhanau Samgrahalaya ki Jain Pratimayen, (Lucknow, Sri Bharat Varsiya Digambar Jain Mahasabha, Esabaga, 2002 Ray Nihar Ranjan Maurya and Sunga Art, Calcutta, 1965 Sarabhai Nawab Nitya Patha Samgrah, Mumbai, Meghraj Pustak Bhandar, 1941. Sankalia H. D. Bibliography - Jain Temples from Devagad Fort, Journal of the Indian Society of Orient. Art- vol.ix, 1941. Shah C. J. - Jainism in North India, London, 1932. Shastri Sundarlal Shah U. P. - - Yasastilaka campu, translation, Varanasi. 247 Studies in Jaina art, Parsvanath Shodha Sasthan. Banaras, 1955. Yaksas worship in early Jaina literarure', in J.O.I., vol. 3 'Mathura and Jainism', in Mathura - The Cultural Heritage, ed. Doris. M.S. (1989): "So-Called Mauryan Polish in Jaina Literature", Journal, M.S. Uni. Baroda, June 1955. Sharma R. C. - Mathura- The Jaina Tirtha Kankali, Hindi, (Mathura, Jambusvami Digambar. Jain Siddhaksetra Samiti, Corasi, 1971. - "Jain Sculptures of the Gupta age in the state Museum, Lucknow", Mahavira Jain Vidyalaya Golden Ju.volume. The splendour of Mathura, New Delhi, D. K. Printworld (p) ltd., 1993. "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.

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248 The Jaina Stupa at Mathura: Art & Icons Sharma V. K. = History of Jainism with special reference to Mathura, New Delhi, D. K. print world (p) ltd. 2002. Smith V. - Jaina Stupa and other Antiqities from Mathura, Allahabad, ASI, New Imperial Series, V. XX, 1901. The Early History of India, Oxford, 1958. A History of Fine Art in India and Ceylon, Oxford, 1911. Srivastava A. L. - Bhartiya kala Pratika, Ilahabad, Umesh Publishers, 1999, Akabar the Great', Vo.-III, 1973., The commentary of Father Monserrate, on his journey to the court of Akbar -translated by J. S. Holyland1922. Bharat ka Itihas, Agra, 1979. Sompura Pranava Shankara Dwadasa Sarasvati Swarupani, from Devata Murti Prakaranam of 'Bharatiya Silpa Samhita' Srutasagaracharya Trivedi S. D. - Bodha Pahuda, a commentary. - A guide book to the Archaeological Section of the State MuseumLucknow, Lucknow, Shivam Arts, 1997. Vijayendrasuri Tirthankara Mahavira, Kashinath Sarak, Yashodharma Mandir, Andheri, Mumbai, 1960. Thames and Hudson Jain Art from India, The Peaceful Liberators', County Museum of Art,, Los Angeles, 1996. Tivari M. N. - -- - Jain Pratima Vijnana, Varanasi, Parsvanatha Vidyapitha, 1981. Vinayavijayaji - Sripalraja-no-rasa', Jain Prakashan Mandir, Ahmedabad, 2011.

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Bibliography 249 Vogel - La Sculpture de Mathura. Art Asiatica, XV, Paris, 1930. The woman -and- tree or salbhanjika in Indian Literature & Art- Acta Orientalia, vol.-VII. Catalogue of the Curzon Museum at Mathura, Allahabad, 1910. Woolley, Sir Leonard - Excavation at Ur, (London, 1934). (IV) Journals, Reports, etc. Archeological Survey Report, Cunningham. Archeological Survey of India, Annual Report. Bulletin of the Baroda Museum, Baroda. Bulletin of the Prince of Wales Museum, Bombay. Children's Pali Dictionary. Descriptive Catalogue of MSS in Jaina Bhandaras, Patan Epigraphia Indica vol. I New Delhi, 1983. Epigraphia Indica, vol. II, New Delhi, 1984. Epigraphia Indica, vol. X, New Delhi, 1984. Epigraphia Indica, vol. XX, New Delhi, 1983. District Gazetteer, Mathura, 1968. Indian Antiquary, vol. X, XXXIII, Indian Culture, Calcutta. Journal of the Indian Museums, Bombay. Journal of the Bombay University, Bombay. Journal Uttar Pradesh Historical Society, Vol. XX, I&II, Journal of U.P.H.S. vol. XXIII. 1950. Proceedings of the All India Conference, Poona.

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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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252 The Jaina Stupa at Mathura: Art & Icons 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 Keshariyaji, 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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254 The Jaina Stupa at Mathura: Art & Icons 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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Illustrations 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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256 The Jaina Stupa at Mathura: Art & Icons 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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Illustrations 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. vardhamAna pratimA kI caukI jise eka mahIne kA upavAsa rakhane vAlI devI vijayazrI ne saM, 5 ) meM sthApita kiyA kaMkAlI TIlA apraa| 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 IT Fig. 25 Fig. 26

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264 The Jaina Stupa at Mathura : Art & Icons Fig. 27 Fig. 29 jaimAI kI. Fig. 28 Fig. 30 jaya mAtA kI jai mAI kI

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

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266 The Jaina Stupa at Mathura: Art & Icons Fig. 35 Fig. 37 Luster. Fig. 36 CALGPALLO ALL 45623 14/10 Fig. 38 The orrans wasich Lester vill =LATIONS

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V. VENKATYA FRONT. Fig. 39 Fig. 41-A Illustrations DACK Fig. 40 267 abhilekha 1- namo arahato vardhamAnasa ArAye gaNikAsye loNa zobhikAye dhitu zamaNa saavikaaye| 3- nAdAye gaNikAye vasu (ye) arahato devikula4- AyAga sabhA prapA zila (T) pa (To) patisthApito nigathA 5-nAM araha (tA) yatane sa [hA] ma (T) tare bhaganiye dhiture putreNa 6- sarvena ca parijanena arahata pUjAye 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 H e free the 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 strI mUrti kI caraNa caukI zaka saMvat 12-Isa 13 prArimana bstny w `wrt `wrt kh ny Hq Fig. 46 BBBBBA Fig. 48 Illustrations Fig. 47 Fig. 49 269

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270 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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274 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 secco ARMIN TEN. NL CANOPE NEAD OF PREVANITHA Fig. 68

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Illustrations 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 tIrthakara mUrtikA sir| Fig. 77 Fig. 78 J.180 TIRTHANKAR HEAD. KUSHANA PERIOD FROM - MATHUGA tIrthakara marti kA sir| Fig. 79 Fig. 80

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Illustrations 279 dhyAnasya jina prAptisthAna INA IN MEDITATION WIND FLARE NOT OWN A PERO Fig. 81 Fig. 82 mtt m m Fig. 84 Fig. 83

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280 The Jaina Stupa at Mathura: Art & Icons 2533 Fig. 85 Fig. 86 Fig. 88 POLOS " Y 21373) 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 OCCO JO19 COES Fig. 107 Fig. 108

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OUTLET HOR F SAZ Illustrations WRENC Fig. 109 NUEST JAY 20 Fig. 110 287

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288 The Jaina Stupa at Mathura: Art & Icons Fig. 111 TUK SAD XLR643X102 Purtunul 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 h`ngn`n Fig. 121

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292 The Jaina Stupa at Mathura: Art & Icons Fig. 122 zilApaTa karanAra zilpI caMdulAlabhagavAnajIomapurA dinakara bI sonapurA The. lavada raoNnAthe sera geITa logara saurASTra Fig. 123

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Illustrations 293 Fig. 124 Fig. 125 Fig. 126

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294 The Jaina Stupa at Mathura: Art & Icons mAyry AsvTSyATS'y Fig. 127 Fig. 128 Fig. 129

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Fig. 130 Illustrations Fig. 132 Fig. 131 295

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

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Illustrations 297 nonen med Su 20 Fig. 137 Fig. 138 Fig. 139

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298 The Jaina Stupa at Mathura: Art & Icons MATHA INSCRIPTIONS JARRINERATURALS galizing HAJAZI Fig. 140 Br. El-I, epigra.1,2. 20552 2 2324 route Major EZYALE & 22: ALSO e fase Fig. 141 Br. El-I, epigra.3,4.

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242 ange Footerpy25435 INMA 40X200XNAYAS 2124 MATHONA SEXATE WHALENIA. Mic Illustrations Fig. 142 Br. EI-I, epigra. 5,6,7,8. GEL #uzzTASUN 2548 WASTER 551475 Barangaran Apa sa HEATHCACHEN XX sNbddN Fig. 143 Br. EI-I, epigra. 9,10,11. yoga 215 SAIGAO 299 ASTUTO COAT OR AC cemiauras Alan And sau, dong www.a

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300 The Jaina Stupa at Mathura: Art & Icons CRIPTIONS NO XVII - - -* *-* khpps2 13 14 (euA15 21 naakhm558 Fig. 144 Br. EI-I, epigra. 12-17. Fig. 145 Br. EI-I, epigTra. 18,19, MATERISMA phaab hintersE64% 14 (26 ph.kh.N-5.68 K.ALLWL1E. STATURA NELONS VI Atos-game ekm m aadwy Wra sa`aadsaras rayathaanayn 2544 29446482- 14&getES EArtising 27\ ** .44 t`n 5 0 1 chaati naan+ Caus at the he 4 khaad Fig. 146 Br. EI-I, epigra 20-27. Fig. 147 Br. E-I, epigra. 28-32.

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Illustrations 301 MATHURA INSCRIPTIONS NON XXXI-XXXV AFTAd SIM THAOL LA 85 Coutur No 35 GO more U21 SUU ue yo Salem Fig. 148 Br. El-I, epigra.33,34,35. ) CER Yk yel SRTXT SIZELET wdd l`r@ m` nd fy tn 144 DOM Sasa Om te 32XXer Net Art W RE 1XEILUA debe *unu EUR FT 4.2 223CXT YUH Fig. 149 Br. El-II, epigra. 1-7. VA D DROLEX REEDUCAK WOXYCAPOLLARESME QUALITY Signages NA NES * icTERNEE No Dated S 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 tsho No. 18 Dated Sam 52 22%fanontriyrtsilRts1degno81443rolua468g blo-sbyoaphyigsanggbb-btogged ck'my22 skybwitM , rnmyRmtsun-rnm-2 p / No 19 Dared Sam af2f H'aysku 1 E1%cicasefxr-#nP Fig. 151 Br: EI-II, epigra. 16-19, KATILUWA JANA INSCRIPTIONS (WSRES) >> +++++++sr+sts/4f64 Rssft 18, *** A# 1 6 tushka Na t Dated Satu Non 2. Dated Sao No 23 Dated Sat 93 No. 1: Dated Sah98 +91/+++ / 1:+ 0 1 Fig, 152 Br EI-II, epigra. 20-26.

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No. 34 21 MATHURA JAINA INSCRIPTIONS (NEW SKIES) V Illustrations LIZ JUHLXUZ J : 43+ 7 +43=1 ko uu pujApa JUALAN Star Tr AXASSIS mou kheriou tes sukhkhlero 20 X = ~ 2 X 2 1 X 2 HJKZJAZ TAX georil 3weol 18il 3ceolug) ANANAHZAHIYAZZAC smrtstsMmripttaare Bazor AZXATUIT 20ERAARAAZ HXYXWLE Fig. 153 Br. EI-II, epigra. 27-34. dyth@ MATHURA JAINA INSCRIPTIONS (NEW SERIES): Nos. XXXV-XLII. No. 36. 2 3/0 44 4191 BRZY PARHEZ HR WATER 201 tevAM 43ra thI maTe x 12ETAR No. 39 Inscription of Kumaragupta, S. 113 POTETEN N KAYAK ju 70930. No. 38: Inscription of Gupta period, S. 57 skaa :10 nE0 kaa 1rss 3nni oto hase ar S A Fig. 154 Br. EI-II, epigra. 35-39. 303

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304 The Jaina Stupa at Mathura: Art & Icons SOS IsoTER Fig. 155 Br. El-X, epigra. 3. Fig. 156 Br. EI-X, epigra. 3,8. gleymi er mulj nalugu, Mwita TALENT EIVISSAR2 DECKERES ERSACESI Roma RU POLSKIE Fig. 157 Br. EI-X, epigra. 4,5. CERFONDA SIM EURR GATE 87 X 0812403A BAFCWTAP ER WEZESZERELM4D233ES Fig. 158 Br. EI-X, epigra. 6,7,9,10.

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GOOOOOO 00000 COD. v000000 DOO CO 09080 POMOD ISBN 978-81-910801-7-9