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 336

List of Plates
323
Iconography and Symbolism, Aspects of Jaina Art and Architecture, paper 6, Fig. 19. Photo Copyright, American Institute of Indian Studies, Varanasi.
Fig. 14 (PI. VIII). A four-fold image-Pratimā-Sarvato-bhadrikā--from Kankali Tila, Mathura, now no. B.70 in the Mathura Museum. The Jina facing us is Pärśvanātha having as attendants near pedestal a male and a female Jaina lay devotees. Age, Kuşāņa. Note the peculiar attachment (like a piece of cloth) to the palms of the hands of the Jina. Inscr. dated in the year 35. Agrawala, V.S., Catalogue of the Mathura Museum, JUPHS, XXIII, p. 37. Agrawala notes that there is a round mortice in the top of the stone. The base is broken. Obviously another stone could be attached to it because of the mortice. This sculpture was, therefore, part of a pillar. Photo Copyright, Indian Museum, Calcutta.
Fig. 15 (PI. VIII). Lower part of an image of a standing Jina, with the inscribed pedestal better preserved. From Kankali Tila, Mathura, now no. J.10, Lucknow Museum. Luders' List, no. 28. Dated in Samvat 20. Image of Vardhamana dedicated by Datta Srāvikā. Studies in Jaina Art, Fig. 9. Copyright, State Museum, Lucknow.
rgio PI. IX). A wheel-Dharmacakra-of brass or bronze from the Chausa Hoard, now in the Patna Museum, Arch. no. 6540. Ref. H.K. Prasad, op. cit., p. 280; Aspects of Jaina Art and Architecture, paper 26, Fig. 3, Age, Kuşapa. Copyright, Patna Museum, Patna.
Fig. 17 (PI. IX). Caitya tree, brass or bronze, from the Chausa hoard, now in Patna Museum.
Found along with Jaina bronzes, this may be regarded as a Caitya-tree separately worshipped by the Jainas in the early centuries of the Christian era. It is not known whether a Jina image was placed under it near the trunk or whether the tree was separately worshipped. It is very likely that this was worshipped as a Caitya-tree. Aspects of Jaina Art and Architecture, paper 26, Fig. 4. H.K. Prasad, op. cit., p. 280.
Note the female figure (perhaps a yakşı!) on top which shows that the tree dates from the Kuşāņa period. For the worship of the Caitya tree and other trees in Jainism, see Studies in Jaina Art, pp. 65-76. Copyright, Patna Museum, Patna.
Fig. 18 (Pl. X). Dance of Nilanjana--Scenes from the Life of Rsabhanātha. Stone relief from Kankali Tila, Mathura. In two pieces, nos. J.609 and J.354, Lucknow Museum. Studies in Jaina Art, Fig. 5, p. 11, n. 4.
The relief panel is partly preserved and we miss other scenes from the life of Rşabhanatba. What is preserved is in two pieces. The piece on the left, a bigger piece, no. J.354 in Lucknow Museum, represents the scene of Dance of Nslánjana in a pavilion before Rşabhadeva. Nilänjana is said to have died dancing. The Laukāntika gods appear. They are shown standing behind Rşabhadeva who is seated and dressed as a king. With folded hands they request Rşabhadeva to renounce the world. Transitoriness of worldly life and pleasures is shown by the death of Nilänjanä. Rşabhanatha retires, turns a naked monk, and practises penance sitting in meditation. The dress and treatment of different figures in this panel shows that the reliefs date from c. 2nd-Ist cent. B.C. Copyright, State Museum, Lucknow.
Fig. 19 (Pl. X). A mutilated panel from Kankali Tila representing "Bhagava Nemeso” according to the letters carved on the lower border. See Smith, Jain Stipa, Pl. XVIII, p. 25. Now in Lucknow Museum, no. 626. Ref. Shah, U.P., Harinegameşin, JISOA, Vol. XIX (1952-53), pp. 19-78, where we have shown that the scene does not depict transfer of Mahāvīra's (embryo by Harinegamesi. Nor does the scene of dancing and rejoicing on the back side of this piece (see JISOA, XIX (1952-53), op. cit., Fig. 4) necessarily refer to the Transfer-incident. Age, Kuşāņa. Copyright, State Museum, Lucknow,
Fig. 20 (PI. XI). Image of Sarasvati, from Kankali Tila, Mathura, now in State Museum, Lucknow. This was supposed to be the earliest image of Sarasvati, the Goddess of Learning, so far discovered in India, but a figure carrying vina, from Bharhut, is now identified as Sarasvati. Inscr. dated in year 54. An attendant devotee on her right carries a kalasa--a pürna-kumbha-a pitcher of nectar, life force, knowledge, etc. In ancient times, kalaśa seems to have been a symbol of learning, and of Sarasvati, the Goddess of Learning. A seal from Bhita, having pitcher symbol on it, has the words