Some Unpublished Jaina Images Of Bihar

Author(s): Ajoy Sinha
Publisher: Ajoy Sinha
Catalog link: https://jainqq.org/explore/269410/1

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Some Unpublished Jaina Images of Bihar
WJOY KUMAK SINITA
An Early Image of Bhagurun Sanchinatha with the Jyotiska Devas
The town of Bhagalpur, ancient Campa,' preserves a number of early Jaina sculptures in various temples. It is one of the most sacred places for the Jainas. In the beginning Jainism was an atheist religion? but during the early historic period the Jainas came closer to the Hindus and started idol worship. They adopted a number of Hindu gods und goddesses such as Ganesa, Sarasvati, Astadikpalas, Navagrahas and so on and so forth. They worship the Nuvagrahus (nine planets) as Jyotiskadevas who used to encircle the Tirthankara, just to pay reverence.
There is an early image of Bhuga vall Santinatha, the sixteenth Tirthankara at Sri Cumpapur Digambar Jain Siddhaksetra, Natunagar (a suburb of Bhagalpur). It measures 61 x 30.5 centimetres and is carved out in black basalt. (Fig. 1) The Jina is seated in the samparyunk asura on a double petalled lotus pedestal. In the centre of the pedestal, a dharmacakra (wheel of Law) luas beautifully been carved out. The pedestal, however, rests upon the back of two youthful lions seated in opposite direction by the side of wheel of law. Just below the dharmacakra, figure of a mrga (dcer, the lanchunu of Bhagavan Sanținatha) is engraved by whose side two devotos with folded palms are seen. The Jina's clonyated cars, wall closed eyes, allly hair round molemark, halu behind the loud and a Solsu mark are all typical to the Jain and The flying Gandharvas with long Ilowery garlands are depicted just by the side of the Jina's head. But the most striking iconographic feature in this sculpture is the presence of Jyotiskadevas" on either side of Bhagavan Santinatha. The leader of the Jyotiskadevas is Surya (Sun-god). He is engraved on the right side near the shoulder of the Jina. He has been described in the Jaina scriptures as the deity of the East and the husband of Ratna Devi.. He holds two lotus llowers in his hands. Here in this "Patil, D.R., The Antiquarriun Remains in Bihur, Patna, 1963, p. 78. *Sharma, B.N., 'Foreword, The Juina Iconogruphy by B. C. Bhattacharya, New
Delhi, 1974 reprint, p. 10. "Ibid. Sinha, A.K., Jalnu Shrine's in Bhagalpur (in the press) "Bhattacharya, B.C., The Juinu Iconogruphy, New Delhi, 1974 reprint, p. 116. Ibid. -

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image, the Surya is engraved in lalitasana pose holding two full blos somed lotus flowers in both hands. On the other side of the deity, Candra, the Moon-god, has been depicted who is said to be the master of stars and ruler of the north-West Quarters. The Moon-god is seated in samparyankāsana: He is in barada (boon-giving) mudra. The Digam bara description of the planet has no mention of his symbols. Just below the Sun-god, figure of Mangala is seen. He is known as the son of the earth and ruler.of the South. He is holding a spear in his left hand which is prescribed in the Digambara tilpa texts. The fourth Jyotiskadeva, Budha is seen just below Candra who is said to be his father. He is ruler of North region. He is holding a long sword in his left hand. The Digambara silpa texts, however, inform us merely a book for this planet. The next planetary god, Brhuspati, has been depicted below Mangala. He is the ruler of the north-Eastern quarters His emblems are not clear. According to Digamburu texts Brhaspati sits on a lotus and holds a book, kamaṇḍdalu and a rosary." The sixth Jyotiskadeva, Sukra is seated below Budha in samparyankasana. A -rosary like object is seen in his left hand while his right hand is in varada mudra. He is the ruler of the south-East regions and teacher of demons. The seventh planetary deity, Sani (Saturn) has been depicted in almost tribhanga pose, holding a standard" likę object by both hands. None of the Jaina texts refer to the terrific form of last two unauspicious planetery deities Rahu and Ketu who have only been referred to as ruler of south-Western and ruler without any region respectively. In the present sculpture, only Rahu is present. He is in extremely terrific form. His hands are in the tarpana mudrā same as in the Hindu Navagraha sculptures.
Now let us evaluate the importance of the sculpture under study. It is singular carly specimen in side the province of Bihar showing only eight Jyotiskadevas reported so far.10. Absence of Ketu is of great importance from the chronological point of view. Ketu is a later addition in Indian art." Impact of the Hindu art is also clear from the representation of the saturn. The author of this paper think that the image in question belonged to the early Pala period (circa 8th century AD.)
"Nirvanakalika. Pratisthasaroddhara.
Visnudharmottura, 69. 1-8
Sinha, C.P., The Early Sculptures of Bihar, Patna, 1980, pp. 133-135.
"Banerjee, J.N., The Development of Hindu Iconography, Delhi, 1974 third edition P. 444.

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Rare Image of Caubisi of Adinathe ul Bhagalpur
The town of Bhagalpur, well known sacred place for the Jainus, lius a number of shrines dedicated to Bhagavan Vasupujya. It was the place where occured the puncakalyanus of Bhagavan Vasupujya. Due to this fact, Bhagavan Parsvanatha,' the twenty third Tirthankara and Bhagavan Mahavira, the last Tirthankara, paid their valuable visits here. A big temple complex 'was erected during the sixth century B. C. inside the ancient city of Campa (modern Campanagara, il suburb of Bhagalpur toivn). It was referred to in the acnient Jaina literature as PunnabhaddaYaksa Caiya. A number of ancient Jaina images were recovered from a tank (probably the ancient tank caused to be excavated by the order of queen Gaggara) at Campanagara. Majority of them are adoring the Sri Campapur Digambar Jain Siddhaksetra, Nathnagara. One of them, a caubist of Bhagavan Adinatha is, however, preserved in the Sri Digambara Jain Mandir, Jain Mandir Lane, Bhagalpur. This temple was constructed in the Vikram Samvat 1929 (1872 A.D.) by the efforts of local Jainas, just to provide boarding facilities to the Jaina pilgrims....
The caubill of Bhagavan Adinatha (Fig. 2) is carved out of black stone. It measures 16 x 10 centimctres. It is carved out in an almost rectangular piece of stone. The sculptural details are in four tiers. The upper most tier has the figure of Bhagavan Adinatha who is seated in the Sumpararka mudrā (cross legged position). His half opened eyes, elongated ears, and locks of luair hanging on slioulders denote this image as of Bhagavan Adinatha. He is flanked by two attendants, standing one on his either side. The Jina has triratha chatra over his head. They
are decorated with the atokadruma. The flying Vidyadharas holding "long flowery garlands in their respective hands are engraved just over
the head of Bhagavan Adinatha. He is scated on Kailasa, the seat prescribed for him in the filpa text. In the second tier from the top, seven figures of the Tirthankars have been carved out. They are all
'Roychoudhury, P.C., Bihar "District Gazetteer-Bhagalpur, Patna, 1982.
Sinha, A.K., Jaina Shrines in Bhagalpur (in the press) - Samawa yanga, p. 67,
Bharvari Surna, p. 2234. 'Law, B.C., Mohavira : His Life and Teachings, London, 1937, p. 32-33. .
Ammiparika Sutra, p. 101. (Suilana Ed.) "Patil, D.R., The Antiquarriun Rerwins in Bihur, Patna 1963. "Sinha., A.K., Eurly Juin Images from Bhagulpur (in the press) Rupamandana, verse 27.

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standing in khugasami mwilra. They are all nude. From right to left, the Jinas are standing in chronological order, viz., Ajitunathu, Sum bhavanatha, Abhinandananatha, Sumatinatha, Padmaprabha, Suparsvanatha, and Candraprabha. Their lañchanas, viz., the gaja (Ele phant) afva (Horse) kapi (Monkey), kraunca (Curlow), abja (Lotus) $vastika and susi (Moon) have been engraved below their feet accordinglly. In the third tier from the top, as many as eight Jinas have been depicted again in the chronological order from righi to lelt: They are, viz. Suvidhinathil, Sitalanatha, Sreyamsanatha, Vasupujya, Vimalamutha, Amuntanatha, Dharmanatha and Santinathu. They are also in khadgasana murā. Their respective lanchanas, viz, the makara (cro: codile), srivaisa, khung isa (Rhinaceros), mahita (Buffalo), Sukura (Boar); $yena (Hawk); and vajra (Thunderbolt) have beautifully been carved out under their feet. In the lower most tier we see figures of remaining eight Tirthunkaras, again in the chronological order. They are Kunthunatha, Aranatha, Mallinatha, Munisuvrata, Naminatha, Neminatha, Parsvanatha and Mahavira. They are also in khadgasana mudra. Their lañchanics, viz,the mrga (Deer) Chaga (Goat); nandya. varta, yhata (pot); kürnia (Tortoise) ; nillotpala (Blue lotus); Sankha (conch); phani (Serpent) and simha (lion) are clearly visible under their fect. All these Tirthakaras lave been provided with double circled halo behind their heads which denote to their godship.
The caubist of Bhagavan Adinatha under discussion shows certain similar features to those reported from the Bangladesh caubišies which belonged to the late Pala (circa 10th-11th century A.D.) period. A caubist of Bhagavan Candraprabha displayed in the Dacca Museum Bangladesh presents the remaining twenty three Jinas in seated (vadmāsaina) posture. The Dinajpur Museum (Bangladesh)12 caubisl, however depicts all twenty three Jinay standing in four tiers on the either side of Bhagavan Adinatha. The muscums of Dilur have not preserved any (uubist in stone. .
Hence, the author of this paper, tlinks that the Bhagalpur Digambar * Jain Temple's wubist of Bhagavan Adinathat, which certainly belonged
to the Paki period, is of great archeological interest.
Ibid., verses 5-6. Sharma, B.N. Juina Pratimayen, Delhi, 1979, p. 95. 1*Ibid.

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Some Jaina Images at Pakur (S. P) :
Pakur' is a sub-divisional headquarter of the district of Santal Parganas. It is well connected with the district headquarter Dumka by a metalled road and by rail with Bluugalpur and Calcutta as well. The District Gazetteer of Santal Parganas is quite silent about Jainism. But the author of this paper surveyed the toivn of Pakur and inspected four early images of Jaina Tirthankaras which at present are enshrined in a newly constructed temple at local Harindunga Buzur, just near the Pakur Railway Station.
The Digambar Jain Mandir, Pukur has some bronze images. The author of this paper came to know from the Secretary of that temple that all the Jaina images belonged to Rajasthan. Their forefathers brought these icons with them to Pukur for religious purposes. At present only five or six Jaina families, all engaged in business, are living at Pakur. The temple contains only four images, two of marble and two bronzes.
· The oldest icon represents-Bhagavan Parsvanatha. (fig. 3) It is a bronze which measures 10.2 x 5.1 centimetres. According to an inscription engraved upon its pedestal, we know that it was donated to a templo in the Vikram samvat 1527 (A.D. 1-470). Bhagavan Puursvanatha is sealed in samparyarikasana upon a high platform. His hair tied in uşntsa style gives an early look. The image represents the Jina seated crosslegged on a scat placed over a punc'uruthu pedestal with both palms placed one over the other on the lap in the attitude of meditation (ugimudra). Parsvanatha is readily distinguished by the presence of the 'scven hooded serpent canoping over his head. lle has been represcited entirely nude suggesting his Digambara form. He has elongated ears, mark of frivursa symbol over his chest, and cukru over the sples of his feet. In accordance with the canonical texts, Parsvanatha should be accompanied by the Yaksa Dharanendra and Yaksini Padmavati. But in the present example these two companions are conspicuous by their absence. The front face of the pedestal has three.niches, separated from each other. In the centrul nicho we find the representation of snaked the lanchana of Bhagavan Parsvanatha while in the two other niches there are two lions hulling the seat of Blutgavan Parsvanatha over their back. The entire representation is fairly good. In the knowledge of the present author who extensively surveyed the Jaina images in the "Sinha, A.K., Santal Parganas District through the Ages', Bulletin of the Tribal Welfare Research Institute, Vol XXIV, Ranchi, 1990, pp. 77-84. Bhattacharya, B.C., The Jaina Iconography, Delhi, 1968 reprint, p. 58. Rupumanduna, Verse 6.

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eastern Bihar, this image of Bhaigavan Parsvanatha is the earliest bronze icon in this region.
. Another early bronze enshrined in Sri Digambar Jain Temple, Pakur
represents the cighth Tirthankara, Bhagavan Candraprabha, locally known as Canda Prabhu. It is a tiny specimen measuring 5.2 x 3.8 centimetres. It is dated in the Vikrama Samvat 1671 (1614 A.D.) The Jina is seated in padmāsana and in deep meditation. Bhagavan Candraprabha's worship is very popular in Rajasthan. In this eastern part of Bihar, this image is one of the early specimen of its type.
The remaining two icons are carved out of marble--one in black marble representing Bhagavan Parsvanatha and the other in white marble depicting Bhagavan Candraprabha. (fig. 4) They belonged to the first quarter of the ninteenth century A.D. The image of Bhagavan Parsvanatha is in pacmāsana pose. The seven-hooded snake is canopied over his head. There is an interesting story regarding association of serpent with Bhagavan Parsvanatha in the Parfranātha Carita. Once upon a time Parsvanatha saw a great serpent having been burnt in the fire lit during the pañcāgni lapal performed by an ascetie. Parsvanatha, who happened to be present there, extinguished the fire miraculously and rescued the serpent from being burnt into the fire. The serpent was in due course reborn as Dharanendral, the king of the nether world. At some later period, when the Jina was performing austerities in the forests of Kausumbi, the serpent king Dhuranendra presented himself in state and paid duc lonour to him. Since then, Bhagavan Parsvanatha became close to him. The frivursu mark over the chest of the Jina is very clear. The last specimen belonged to the Vikrama Samvat 1881 (1824 A.D.) and represents the cighth Tirthankara Bhagavan Candraprabha in the padmāsana mudra. It is carved out in the white marble and measure 13.8 x 10.5 centimetros. His symbol, sasi (Moon) is clearly visible in the centre of the pedestal over which Bhagavan Candraprabha seated crosslegged with both palms placed onc over the other on the lap in the attitude of a Yogi.
In the district of Santal Parganas where Jainism has a very little grip in the society, the above mentioned sculptures are not of less impor tance. It shows the deep religious feelings of the Jainas of Pakur, who migrated from Rajasthan alongwith them.
- ***
'Sharma, B.N., Jainu Pratimayen, Delhi, 1979, p. 42. 'Bloomfield, M., The Life and Stories of the Jain Saviour Parsvanatha, Baltimore, 1914, p. 10.

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Some Jaina Images of Monghyr
Monghyr,' the ancient city of, Mudgagiri, was an important centre of Jainism during the early historic period. We know from the Padmacarita of Acarya Ravisena that Jaina cult was in flourishing condition in the vicinity of Monghyr during the 7th century A.D. Temples of the Tirthankaras were being built and teachers were always moving in these sacred places propagating the principles of Jainism. Acarya Jinasena and Acarya Haribhadra (circa 8th century A.D.) also described the Anga region as a centre of Jainism. Recently, the author of this paper has published a torso of Bhagavan Parsvanatha discovered from the Monghyr Fort area. It belonged to the circa 9th century A.D. and carved out of black stone. It supplemented the literary evidences regarding Jainism in Monghyr.
Some Jaina sculptures are enshrined in the Sri Parsvanatha Digambar Jain Mandir, Bara Bazar, Monghyr. The present temple according to its Secretary was constructed in the Vikram Samvat 1936 (1879 A.D.). The temple is dedicated to Bhagavan Parsvanatha, the twenty third Tirthankara.. It is worshipped by the Digambara Jainas. It is said that the present temple was erected upon the ruins of an old temple. At present the population of the Jainas in this town are not more. than' one hundred.we
The author of this paper, who inspected the images enshrined in side the temple, has selected three of them for study. All the three represents Bhagavan Parsvanatha. Two of them bears the date V.S. 1936 (1879. A.D.) while the third one is very important from the archaeological point of view. It represents Padmavati, the Sasanadevi of Bhagavan Parsvanatha over whose head the Jina is seated. It is dated in the year) V.S. 1548 (1491 A.D.).
Let us examine the iconographic details of two images of Bhagavan. Parsvanatha. The black stone image of Bhagavan Parsvanatha measures 16x10 inchesThe Jina is seated in samparyankasana. The seven hooded serpentis canopied over his head from back. His hair style is typical. His long ears, half closed eyes, trivaisa mark over chest are
10' Malley, Bihar and Orissa District Gazetteer-Monghyr, Patna, 1926, pp. 30-52. Sinha, B.P. (ed), The Comprehensive History of Bihar, Vol. I, Pt. II, Patna 1974, p. 457.
Ibid., p. 458.
Sinha, A.K. A Torso of Parsvanatha in the Bhagalpur Museum (Bihar)', Jain Journal, Vol. XVII, No. 3.(Calcutta, 1983), pp. 101-102.

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