Some Jaina Metal Images From Unpublished Ghogha Hoard

Author(s): Lalit Kumar
Publisher: Z_Nirgrantha_1_022701.pdf and Nirgrantha_2_022702.pdf and Nirgrantha_3_022703.pdf
Catalog link: https://jainqq.org/explore/269019/1

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SOME JAINA METAL IMAGES FROM AN UNPUBLISHED GHOGHĀ HOARD
Lalit Kumar The hoard of Jaina metal images from Ghoghā, an ancient sea-port town in District Bhavnagar in Gujarat, was a chance discovery during the renovation work at the Navakhandā Pārsvanātha temple when a cellar was detected in 1961. It had a secret cupboard built into the wall which yielded 240 Jaina bronze images. Soon after the discovery, the hoard was examined by M.A. Dhaky and H. P. Shastri of the Department of Archaeology, Government of Gujarat. They also published a brief articie by way of a preliminary report'. As reported therein, the treasure contained some 28 small and insignificant images and 66 other images, but each without an inscription. The interesting content of the inscriptions of the remaining images was also published in the report. It provides names of donors, villages and towns, castes of traders, and of gacchas and Sūris, all of the “vetāmbara sect. In 1978, Setha Kālā Mitha-ni-Pedhi, Ghoghã, donated 129 images from this hoard to L. D. Institute of Indology, Ahmedabad; these had been earlier selected and set aside as important by Dhaky and Shastri with the recommendation to the temple trustees to guard them carefully. A majority of these are inscribed and are represented as ek-tirthis or pañca-tirthis. The figures in most cases are defaced due to lustral ceremonies conducted continuously for centuries; therefore, the physiognomical details are in most cases not clear. The eyes, the śrīvatsa mark on the chest, and the cushion or seat of the Jina are inlaid with silver or copper. The images under reference range from early tenth century to early 17th century A. D. But there were images of the later date mentioned in the original report which refers to an image dated A. D. 1720 which fixes the date after which the treasure was concealed in the wall. The Ghoghā hoard, as can be anticipated, represents the art of the medieval and late medieval period in western India. From western India, we earlier had two major hoards of Jaina metal images, namely Akoţā? and Vasantagadh. They cover a period ranging from the sixth century to the 11th century A. D. The art of the subsequent centuries is represented by the Ghoghā hoard. The Jaina metal images produced after the tenth century show the development of the many workshops in the region. But, in spite of their perceptible differences with each other, they look alike, for they are based upon certain formulas within the unified western Indian style in general. The style had persisted with tenacity as far as early 16th century, though thereafter it becomes baroque which marks the climax of elaboration in details and geometrical compositions. Formalism in western Indian art is visibly manifest from the beginning of the 11th century. It is apparent in geometrical compositions as well as in figural

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Some Jaina Metal Images....
representations. The figures now do not show the flowing contours in their bodily forms as witnessed in the early period. They betray the gradual increase in the tendencies towards geometrical abstraction.
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Some relatively early metal images from the Ghogha hoard belonging to the tenth. and 11th centuries, mark the last phase of the Vasantagadh tradition. This is clearly noticeable from their compositions. The flamboyant halo as well as the oval prabha-aureole can also be discerned in these examples.
The representations of the male camara-bearers is an important part of the composition in the later medieval period. They are absent in the Akota hoard which very largely has early images. But the introduction of the camara-bearers can be seen in some images in bronze produced after the mid-tenth century at Vasantagadh. This feature to some extent can help fixing the date of certain images.
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The introduction of the torana element in western Indian Jaina bronze images was a step forward towards an elaborate scheme in their compositions. This is first noticed at Vasantagadh in certain bronze images produced after the mid-tenth century A. D. The torana gave a new outlook to the Jaina metal images. They look more appropriate for the worship in a shrine in the residential quarters. From the beginning of the 12th century, some changes appear in the mode of image worship among the Svetämbara Jainas. They had now begun ängis (body) decoration) hang to images. Therefore, some of the images are provided with looped hinges on the parikara. In some images of this period, a chatra-purusa behind the parikara of the image is also present. In regard to the technique of manufacturing western Indian metal images in the late medieval period, these were produced in parts such as the mulanayaka (principal image), pitha (pedestal), parikara (surround), torana (undulating arch), and the attendant figures. These parts were then assembled to form the complete image by soldering technique.. Revetting technique was also used in fixing small figures.
Some of the representative examples of Ghogha hoard are catalogued below in chronological order:
1. Tritirthi of Pārsvanatha
Bronze, western Indian, Vasantagadh style,
Date c. early 10th century A. D.
16.0 x 9.5 x 6.0 cms.
Acc. No. Ghogha 19 (Fig. 1)
Jina Parsvanatha here is seated on a cushion placed on a pitha decorated with two full bloomed lotuses and a carpet. He is on either side flanked by a Jina standing on a lotus against a flamboyant oval shaped prabha on either side. The nimbated Yaksa Dharanendra and Yaksi Padmavati are seated below to his right and left side. The seven-hooded snake canopy is surmounted by a triple-umbrella which is

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Lalit Kumar
Nirgrantha
held firmly by supporting arms and flanked by a vidyadhara on either side. Nine planets are represented in a group on the base. The male camaradharas are absent. 2. Caturvimsati-patta of Adinatha
Bronze, western Indian, Vasantagadha style
Date V.S 1123/ A. D. 1066
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36.5 x 25.0 x 14.0 cms.
Acc. No. Ghogha 1 (fig.2)
Adinatha is identified by his hair locks flowing on his shoulders. He is also attended by the bull-faced Yakṣa Gomukha on his right and Yakşi Cakreśvarī on his left, both seated on their vahanas, the bull and the Garuda. A pair of deers also appear in front gazing at the cakra in the centre of the pitha. The Jina is seated in dhyāna on a cushion inlaid with silver placed on a stepped gaja-simhasana kept on a dvianga pedestal. The face has silver inlaid eyes with no details. On either side of Adinatha stands a Jina in kayotsarga against a flamboyant oval halo. On the backplate of the Jina are two round pillars and a flamboyant aureole which is surmounted by a triple-umbrella topped with a kalasa; it is flanked by a drummer and a vidyadhara-angel on either side. The whole forms a central tritirthi surrounded by a torana-like composition in the same plane unlike the usual architectural conception. A column of five niches containing a seated Jina figure flanks on either side of the central tritirthi. Towards the interior on either side stands a Jina outside the niche on the top; whereas the other side is occupied by a makara-head. The two bludgeon ends alone of the crossbar are visible. These are supported by a gaja. vyāla bracket, and below each stands a camara-bearer. The two sides of the triangular parikara above have a row of three seated Jinas in receding planes sitting under a small chatra. A small tritirthi occupies the apex. Here, a Jina is seated in a niche and outside it are standing Pārsvanatha and Supārsvanatha on the right and left respectively. On the base are represented donors, a male and a female, in añjali mudra and nine planets arranged in pairs with the exception of one in the centre. Flames emanate from the border of the parikara.
The inscription behind the pitha reads:
श्रीसवालीयगच्छे वीरपितुश्रेयोनिमित्तं अंपटादिनिजपुत्रैश्चतुर्विंशतिपोयं कारित इति । संवत् १९२३.
The sons, Anpață, and others got this caturvimśati-paṭṭa made for the religious merits of their father Vira of the Sarvaliya gaccha. Samvat 1123.
3. Tritïrthi of Pārsvanatha
Bronze, western Indian, Vasantgadh style
Date V.S. 1135/A. D. 1078
14.5 x 10.0 x 5.5 cms.
Acc. No. Ghogha 36. (Fig. 3)
Under a snake-hood canopy, the Jina is seated on a cushion supported by

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Some Jaina Metal Images....
visvapadma emanating from the dvi-anga pedestal. He is flanked by a standing Jina and a camara-bearer on either side and Yakṣa Dharanendra and Yakşi Padmavati on his right and left flank. A semi-circular parikara raised on a crossbar is set in an ogee arch having four tooth-like projections on the exteriors on either side. The snake-hood surmounted by a chatra having a kalasa-finial is flanked by a vidyadhara on either side. Navagrahas are seen in a group on the base.
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The inscription behind the parikara reads:
सं. १९३५ श्री भटहृद गच्छे शसुतयशोदेव श्रेयोर्थं पाहिन्या कारिता
In Samvat 1135, Pahinī got made (this image) for the religious merits of Yaśodeva, the son of the head of Sri Bhaṭahrada gaccha.
4. Seated Pārsvanatha
Bronze, western Indian, Gujarat
Date V. S. 1154/A. D. 1097
15.0 x 10.0 x 7.0 cms.
Acc. No. Ghogha 34 (Fig. 4)
Pārsvanatha is seated on a cushion supported by a viśvapadma, under a snakehood canopy. He is flanked by a male camara-bearer standing on a lotus on either side. The Yakṣa Dharanendra and Yakṣi Padmavati are seated on his right and left. A semi-circular perforated parikara is borne on a cross-bar supported by two plain pillars. The snake-hood is surmounted by a chatra with the usual jar-finial on top and flanked by a drummer and a vidyadhara on either side. The parikara is also endowed with some stylised vegetal pattern. The nine planets are represented in a group on the dvi-anga pedestal.
The inscription behind the parikara reads:
सं. ११५४ वैशाखे प्रतिष्ठिता ॥
ठ. भूमल ठ. सूह ठ. मुप्र ठ. वच्छराजेन स्वभगिन्याः स्वर्गस्थिताया ठ. कागश्रेयोर्थं कारिता || थारा [पगच्छे ]
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The image was installed in the month of Vaisakha in samvat 1154. Thakkura Bhumala, Thakkura Süha, Thakkura Mupra, and Thakkura Vaccharāja made the image for the religious merits of Thakkura Kaga related to their sister resting in heaven of Thäräpadra gaccha.
5. Seated Jina
Bronze, western Indian, Gujarat
Date V. S. [11]81/A. D. (11)24
16.0 x 10.0 x 6.5 cms.
Acc. No. Ghogha 18 (Fig. 5)
The Jina is seated on a cushion placed on a visvapadma placed on a dvi-anga pedestal. The figure is defaced but the eyes and Śrīvatsa mark on his chest are

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Lalit Kumar
Nirgrantha
seen inlaid with silver. He is flanked on either side by a male camara-bearer standing on a lotus and on the pedestal a Yakṣa and a donor-male, a Yakși and the donor-female on his right and left respectively. Architecturally conceived backplate has upright pillars supporting a crossbar. The padmaprabhā is surmounted by a chatra with the jar-finial on top. It is flanked by a drummer and a vidyādhara on either side. Nine planets are represented in a group on the pedestal.
The inscription on its back reads :
सं. ८१ माघे वर्द्धमाने पितृव्य श्रे यो ]) श्रीसदेववइरोचनेन कारिता In Saṁvat 81 in the waxing half of the month Māgha, Śrī Sadevavairocana got made this image for the religious merits of his paternal uncle. The first two digits of the year are perhaps missing in the inscription. Stylistically, the image belongs to the 12th century; therefore, the actual year could be Samvat 1181. 6. Tritirthi of Sāntinātha
Bronze, western Indian, Gujarat Date : V. S. 1234 / A.D. 1177 16.0 X 9.8 x 5.5 cms.
Acc. No. Ghoghā 52 (Fig. 6) The nimbated Jina is seated on a cushion kept on a simhasana placed on a pedestal. The figure is defaced; it shows a śrivatsa mark inlaid with silver. A deer, the cognizance of the Jina, is represented on the pedestal between two groups of nine planets, five on the left side and four on the right side. The mülanayaka is flanked by a Jina standing under a triple umbrella with foliage on either side. The Yaksa Garuda and the Yaksi Nirväni are seated near the simhāsana on the left and the right side. There is no backplate of the image. A semicircular arch surmounted by a kalaśa with stylised flames on the border accommodates a circular halo, a triple umbrella with foliage, and kalasa on the top. This constitutes the parikara which is raised on a crossbar supported by two upright thin posts erected on the pedestal.
The inscription on the reverse reads:
सं. १२३४ माघ वद.....श्री शांतिबिंबं कारितं प्रतिष्ठितं श्रीधर्मसूरिशिष्यैः श्रीरामचंदैः। In the dark half of the month Magha in Samvat 1234, the image of Śrī śāntinātha was made (and) installed by Sri Ramacandra, the disciple of Sri Dharmasuri. 7. Seated Pārsvanātha
Bronze, western Indian, Gujarat Date : V. S. 1258 / A. D. 1201 17.5 x 11.8 x 7.5 cms.
Acc. No. Ghoghā 12. (Not illustrated) Pārsvanātha seated in dhyana on a cushion is placed on a simhasana covered with

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Some Jaina Metal Images....
a carpet kept on a dvi-anga pedestal. The figure shows a squarish broad face and squattish torso, the eyes and śrīvatsa mark are inlaid with silver. He is flanked by a male câmaradhara on either side and nimbated yaksa Dharanendra and yaksi Padmavati along his right and left flank. On either corner of the pedestal are seen four planets in a group on a separate pitha placed obliquely. The perforated parikara surmounted by a pot-finial with foliage is placed on a crossbar supported by two round pillars, one on each side of the Jina. The snake-hood canopy surmounted by a chatra with a kalasa on the top is flanked by a drummer and a vidyadhara.
There are four loops for hanging angi (body decoration), two near the kalasa and two at the corners of the cushion. A chatra-puruşa appears behind the inscribed parikara which reads :
सं. १२५८ ज्येष्ठसुदि १० शनौ त्रिगुणापंथे थारापद्गच्छे । पोहीथसुत ठ. राणकेन प्रतिमा कारिता On Saturday, the tenth day of the brighter half of the month Jyestha in Samvat 1258, Thakkura Rāņaka, the son of Pohītha in Triguņăpantha, of Thārāpadra gaccha, got this image made. 8. Seated Jina
Bronze, western Indian, Gujarat Date : V. S. 1290/ A. D. 1233 19.4 x 12.8 x 8.0 cms.
Acc. No. Ghoghā 14 (Fig. 7) The Jina is seated on a cushion placed on a simhasana covered with a carpet. The eyes and srivatsa mark are inlaid with silver. He is flanked by a male flywhiskbearer standing on a lotus on either side. At the base are represented Yaksa and Yakși, donors, and eight planets in two groups. The circular halo incised with lotus pattern has perforations along the border and above it appears a tasseled tri-linear umbrella with a kalasa on top. It is flanked by a drummer, an elephant, and a vidyadhara on either side. The semicircular parikara with beaded border and the ghata with foliage on top is placed on a crossbar supported by two round pilasters. Two loops for hanging angi (body decoration) appear near the finial at the top.
The inscription on the back reads:
सं. १२९० वर्षे दीसावाल ज्ञातिय श्रे. आसपाल सुत सहजपालेन माता[म हीरूपासहितेन मातामह महसारपाल.....कारितं प्रतिष्ठितं श्री चंद्रगच्छी( यैः) नवांगवृत्तिकारसंततिभिः श्रीमुनिचं दसूरिभिः In Samvat 1290, the image was made by Sahajapāla, the son of the Śresthi Āsapāla of Disāvāla Jñāti, along with his grand-mother Rupă, and maternal grand-father Mahasārapāla and was installed by Śrī Muni Candrasūri, in the line of the Navanga vrttikära (i.e. Abhayadevasūrī) of Śri Candra gaccha. 9. Caturvimśati-patta of a Jina
Bronze, western Indian, Gujarat Date : V. S. 1412 / A. D. 1355 21.0 x 13.5 x 7.8 cms. Acc. No. Ghoghā 2 (Fig. 8)

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Lalit Kumar
Nirgrantha
The Jina with a broad face and a squattish torso is seated on a cushion kept on a simhasana placed on a tri-anga pedestal. He is flanked by a standing and a seated Jina, one above the other forming a central pañcatirthi. The Yaksa and Yakși are seated below. The halo is a perforated lotus surmounted by a circular trilinear chatra flanked by an elephant on either side. The torana surrounds the main deity. On it are represented 19 seated Jinas. The ogee-arch of the torana is surmounted by a cusped arch supported by a small strut on either side. A ghaṭapallava is seen on the top. At the two extremes stand male camara-bearers on a lotus console. On the base are represented eight planets in pairs and a donor-male and a donor-female at the corners are seen in front.
The inscription behind the parikara reads:
सं. १४१२ वर्षे पितृपितृव्यभ्रातृमातृसर्वपूर्वज ....महं धणपाल पु. म. भीमसीह था. पूजल पु. विक्रमसीह भा. बल देवि ........श्रेयोर्थ महं लाखणसिंहेन श्रीचतुर्विंशतिपई कारयितं प्र. श्री हरिभदसूरिभिः ।
In Samvat 1412, Maham Lakhanasimha got made Śrī caturviṁsati-patta for the religious merits of his father, his paternal uncle, his brother, his mother, and all other ancestors....Maham. Dhaṇapāla, (his) son Maham. Bhimasīha, (his) wife Pūjal, son of Vikramsiha, (his) wife Bauladevi .......... (it was) installed by Śrī Haribhadra
Sūri.
REFERENCES :
1. M. A. Dhaky and H. P. Shastri, "Ghogha-no Jaina Pratima-nīdhi" (Gujarati), Pharbus Gujarati Sabha Quarterly, Jan.-March 1965, pp. 19-22.
2. U. P. Shah, Akota Bronzes, Bombay 1959.
3. U. P. Shah, "Bronze Hoard from Vasantagadh", Lalit Kala, No. 1-2, pp. 55-65. 4. Ibid., figs. 18 and 19.
5. Ibid.

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1. Tritirthi of Parsvanatha. Bronze, Western Indian, Vasantgadha style, c. early 10th century A. D. (Acc. No. Gho. 19). 2. Covisi of Adinatha. Bronze, Western Indian, Vasantgadha style, A. D. 1066, (Acc. No. Gho.1). For Private & Personalllse Only www.jainelibrary

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3. Tritirthi of Parsvanatha. Bronze, Western Indian, Vasantgadha style, A. D. 1078. (Acc. No. Gho. 36). 4. Parsvanatha, seated. Bronze, Western Indian, Vasantgadha style, A. D. 1097. (Acc. No. Gho. 34).

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5. Jina, seated. Bronze, Western Indian, Gujarat, A. D. 1124. (Acc. No. Gho. 18). 6. Tritirthi of "antinatha. Bronze, Western Indian, Gujarat, A. D. 1077. (Acc. No. Gho. 52).

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7. Jina, seated. Bronze, Western Indian, Gujarat, A. D. 1233. (Acc. No. Gho. 14). 8. Covisi of a Jina. Bronze, Western Indian, Gujarat, A. D. 1355. (Acc. No. Gho. 2).