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

Page 32

Introduction
19 such symbols are seen on some of the Jaina Āyż gapatas of the Kuşă na period, obtained from Mathura. The Tablet of Homage (Āyagapaļa) set up by Acala (no. J.252, State Museum, Lucknow), illustrated here in Fig. 10, shows a line of four symbols in the uppermost panel and another of eight at base. In the lower panel, the first symbol from right end, partly mutilated, was probably the Srivatsa. The second symbol is Svastika, the third a lotus-bud, half open, fourth a pair of fishes, fifth a water-jar with a handle, sixth is either an offering of sweets or better a crude representation of Ratna-rësi (heap of gems). The seventh is probably the Sthåpanā (a cross-stand with a manuscript on it), the eighth is an inverted Tri-ratna looking like the so-called hill on ancient coins. The uppermost central rectangular panel, which contains four symbols, shows the Srivatsa, another type of Srastika with bent ends and two more symbols which cannot be properly identified. 105 A better preserved set of eight symbols is obtained on the Ayagapata set up by Sihani dika (no. J.249, Lucknow Museum, see Fig. 11) with inscription in characters which seem to be earlier than those of the age of Kaniska.1c6 Here in the lower panel are shown the Tri-ratna, the full-blown lotus, the Sthāpanā (or is it Bhadrosara?) and the Mangala-kclaša. In the panel at the top are Mina-yugma, an unidentified symbol, the Sriratsa and the Vardhamanaka (powder-box).
It is thus reason.ble to infer that in the Kuşāna period the Jaina set of the aşamangalas was not finally settled. 107 In this older tradition as represented by the Mathura Ayāgapatas, the Nandyavarta and the Darpana are omitted and the full-blown lotus and an unidentified symbol are used. The Mathura finds represent a stage anterior to the tradition recorded in the Jaina canons like the Rayapasenaiya sutta. 108 Such facts confirm our inference that most of the Jaina cancns as available today follow the edition of the Mathura council of c. 300-313 A.D. under Arya Skandila.
Asfamangalas are represented in miniature paintings109 of manuscripts, in paintings on canvas of different patas, both tantric and non-tantric, and in scroll paintings of the Vijñaptipatras, 110 They are often represented as decorative motifs in different parts of a temple.
The Digambara sect gives the following set of Asramangalas: Bhrrigora (a type of vessel), Kalasa, Darpana, Camara (fly-whisk), Dhwaja (banner), Vyajana (fan), Chatra (umbrella) and Supratisha (a seat).111
Some of these symbols like the Svastika are of very ancient origin, common to different ancient civilizations and races of the world and their exact significance is not always easy to comprehend. The fullvase or the Půrna-Kalasa, the Purna-Kumbha, of Vedic lilerature, is the Indian symbol of fullness of life, of plenty, of immortality,112
The Svetāmbara Jaina text Ācāra-Dinakara explains the significance of these symbols which may or may not represent the original conceptions. According to this text, the Kalasa is worshipped as a symbol for the Jina as he is verily like a Kalasa in the family. The Darpana (mirror) is for seeing one's true self; the Bhadrâsana is worshipped as it is sanctified by the feet of the Blessed Lord; the Vardhamanaka is suggestive of increase of wealth, fame, merit, etc., due to the grace of the Lord. The highest knowledge is said to have manifested itself, from the heart of the Jina, in the form of the Srivatsa mark on his chest. Svastika, according to this text, signifies Svasti, i.e., Santi or peace. The Nandyāvarta diagram with its nire points stards for the Nire Nidhis. The pair of fishes or the Mina-yugala is the symbol of Cupid's banners come to worship after the defeat of the God of Love.
Belief in auspicious objects is very old, ccmmcn to all sects. V.S. Agrawala has referred to Mangalamāla (garland of the auspicious symbols) amongst Sanchi reliefs. The Mahabharata, Dronaparvan, 82.20-22 mentions numerous objects which Arjuna lccked at ard touched as auspicious before starting for battle. Amongst these auspicious maidens are also mentioned. 114 The Vimana Furara, 14.35-36 mentions several objects which are auspicious. The Pral:mavaivarta Purăral15 also gives lists of animate ard inanimate objects regarded as auspicious. Belief in Mangalas and Mangela-dra's is also known to the Rāmāyana. 116
III. Sthāpanā or Sthåpandcārya
This is a symbolic representation of cne's icărya or teacher which a Jaina monk keeps in front while giving a discourse. It marks the presence of the elder, used as a corrective witness, a precaution against