Jain Rup Mandan

SR No.: 001961
Original Sutra Author: N/A
Author: Umakant P Shah
Publisher: Abhinav Publications
Publication Year: 1987
Total Pages: 466
Language: English
Classification: Book_English & Art
File Size: 27 MB

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108
back. The head of this image, preservea in the State Museum Lucknow (no. J.885 from Unao in U.P.), is lost.
The Digambara stand on stri-mukti seems to be a later offshoot in the history of the Jaina Church since in the lists of heads list of Iryikas (nuns) who were direct disciples of various Tirthankaras is carefully maintained by both the sects. Possibly there was no such bar on the fair sex according to the original doctrine, the discarding of garment being optional even for the male sex (monks).. 23. See Luders List of Early Brahmi Inscriptions in Northern India. Epigraphia Indica. Vol. X, Appendix.
The pedestal is preserved in the Lucknow Museum, no. J20. For different views on the date of the image, see J.E. van Lohouizen-de-Leeuw, The Scythian Period, FP 281ff. For the corrected reading of the inscription, see Bajpai, K.D., New Reading of the Inscription on Jina Image J.20 in the Lucknow Museum, J.U.P.H.S., 1958. For the age etc. of different Jaina Councils, see Muni Kalyanavijaya, Vira Nirvana Samvata aur Jaina Kalasana (in Hindi). Belief in 24 Jinas is known to Bhagavati sutra, 16.5, 20.8.58-59. Rajapraśnṇiya sutra refers to images of Jinas. Paumacariyam, 11.2-3, 28.3835. 33.89 refer to images of Jinas, but Paumacariyam should date from 530-57-473 A.D. The text of Rajaprasiya, as available today, contains art data of the Kusana period. Bhagavati sūtra text, as available today, also cannot be earlier than the age of the Mathura Council of c. early fourth century A.D.
saka Niryukti, V. 1080; Avasyaka Vrtti of Haribhadra, p. 502. Hemacandra, in his comm. on Ana Cintamani, 1.47-48, writes:
चविंशतिः अहंतां ऋषभादीनां ध्वजाः चिह्नानि । एते च निवेशिनो लाञ्छनभेदा इति ।
Also of:
कृताकार महंतां लाञ्छनं भवेत् ।
यावयवं वृषेभनुरगादिकम् ।।
--Lokaprakasa of Vinayavijaya, III.32.224 Tre current Digambara verse describing the Eight haryas is:
सुरपुष्पवृष्टि दिव्यध्वनिश्चामरमासनं च ।
A.s2.
56.115ff;
दुन्दुभितपत्रं सत्प्रातिहार्याणि जिनेश्वराणाम् ॥ Harivamsa of Jinasena, 9.212; pira, 23.25-73. The Svetâmbaras give a similar s. see Pravacanasaroddhara, v. 440, p. 106. See Shah, U.P., Evolution of Jaina Iconography and sm, Aspects of Jaina Art and Architecture, pp. 52gs. 3-14. -akusuma of Tiloyapannatti (TP), 4.605. Tagara of Troddhāra. The editors of TP have taken suma fish, which is supported by the Table of Ramachandran, Tiruparuttikunram and its Temples, -194, based on Digambara Tamil and Kannada
6.
S. UP., Age of Differentiation of Svetambara and mara Images, Bulletin of the Prince of Wales
. Bombay, Vol. 1, no. 1 (1951).
Jaina-Rupa-Mandana
30a.. ASI, AR, 1925-26, pp. 125-126, pl. lvi, b. Shah, U.P., Studies in Jaina Art, pl. VII, fig. 18, p. 14.
31. Sthanänga sutra, 4, sū. 307; Jiväjivabhigama sūtra, sū. 137, pp. 225f.
32. Jivajiväbhigama sutra, sū. 139, pp. 232-33. For Siddhayatanas at various places according to Digambara tradition, see Harivamsa (Manikchand Digambara Jaina Granthamala, Bombay), 5-6, pp. 70-140.
33. Cf.:
34.
वृषो गजोऽश्वः प्लवगः क्रौञ्चोऽब्जं स्वस्तिकः शशी । मकरः श्रीवत्सः खड्गी महिषः सूकरस्तथा || श्येनो वच्च मृग छागो नन्द्यावर्तो घटोऽपि च ।
कूर्मो नीलोत्पलं शङ्खः फणी सिंहोऽहं तां ध्वजाः ॥
-Abhidhana Cintamani, I.47-48 For lists see Pravacanasäroddhara, 381-82; Tiloyapanṇatti, 4.604-605; Pratisṣṭhäsäroddhāra, 1.78-79.
वंशे जगत्पूज्यतमे प्रतीतं पृथग्विधं तीर्थकृत्तां यदन । तल्लाञ्छनं संव्यवहारसिद्धयै बिम्बे जिनस्येह निवेशयामि । -Pratisthāsāroddhāra, 4.214, p.
115
35. Agrawala, V.S., Terracottas from Ahicchatra, Ancient India, no. 4, pl. LXVI.
36. Jambudvipaprajñapti, sūtra 30, p. 135; Avasyaka Vrtti of Haribhadra, p. 142; Trişaṣṭisalakāpuruşacarita, 1.3.66
71.
37. Padmacarita, 3.283; Harivamsa, 9.99; Adipurana, 17.200. 38. Also see Rhys Davids, Buddhist India, p. 232.
39. Cf. Bhagavati sutra, 3.2, sū. 144 which describes
Mahavira as meditating under a tree on a Prthviśilapata. Also see Shah, U.P., Studies in Jaina Art, pp. 70ff.
40. For illustrations, see Shah, U.P., Evolution of Jaina Iconography and Symbolism, Aspects of Jaina Art and Architecture, pp. 49-74, figs. 5-13.
41. Avasyaka Niryukti, v. 553 in Haribhadra's Avaśyaka Vytti, p. 232.
42. Paumacariyam, 2.31ff.
43. Avasyaka Curni, p. 235.
44. Harivamsa, 9.212, 56.115-118.
45. Adipuräna, parva 23, 25-73, pp. 542-49. The Kalyanamandira stotra, ascribed to Siddhasena Diväkara, follows this list, see Mahaprabhavika Navasmarana, pp. 460-488.. For later Digambara lists following the same tradition, see Pratisthāsāroddhāra, 4.205-213, pp. 114-115. 46. Tiloyapanṇatti, 4.919-927, p. 267. Also see Padmapurana of Ravişena, 2.149-154, p. 21 and p. 17, v. 101. 47. Vasudevahindi, p. 341.
48. The stock list is: Aśoka tree, shower of celestial flowers, divine music (divyadhvani), flywhisks, lion-throne, nimbus, celestial drum-beating and triple-umbrella.
49. Cf.:
बिम्बाध गजसिंहकीचकरूपाङ्कितं सिंहासनं, पार्श्वयोः चामरधरौ तथोबहिश्च मस्तकोपरि क्रमोपरि तु छत्नत्रयं तत्पार्श्वयोरुभयोः काञ्चन
fgegn shog werfenicuwa: gvaregrist मालाकरी शिखरे शङ्खध्मास्तदुपरि कलशः । मतान्तरे सिंहासनमध्यभागे हरिणयता रेणा (?) ङ्कितधर्मचक्रं तत्पार्श्वयोः ग्रहमूर्तयः ॥
-Acara-Dinakara, 11, p. 205