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 42

Introduction
Mss. 1883-84, by Bhandarkar, p. 146: 49. Also compare Rama Prasad Chanda's remarks in A.S.I.. Ann. Rep. 1925-26, op. cit.
50. Smith, Vincent, Jaina Stupa and other Antiquities from Mathura, Debala Mitra, Chapter no. 6, Mathura, Jaina Art and Antiquities, vol. I, pp. 49-68 and plates. Agrawala, V.S., Catalogue of the Mathura Museum, Jaina Antiquities, JUPHS, vol. XXIII (1950), pp. 35
147.
51. Avasyaka Niryukti, gāthās 949-51, Avasyaka Cürni, p. 567, Avasyaka Vrtti of Haribhadra, p. 437. 52. Siddheśvara Shastri Citrava, Präcina Caritra Kosa (Marathi, Poona. 1932), p. 635.
53. Shah, U.P., Studies in Jaina Art, pp. 12, 62-64. 54. For Stupa worship at Mathura, see Debala Mitra, chp. 6 on Mathura in Jaina Art and Antiquities (ed. A. Ghosh), vol. I, pp. 52-61, plates 1-8. Studies in Jaina Art, pp. 43-64. For Aştamangalas, Studies in Jaina Art, pp. 109-112, and fig. 60; Shah, U.P., Treasures of Jaina Bhandaras. For Caitya-Trees, Studies in Jaina Art, pp. 65-76; for Ayagapatas, ibid., pp. 77-84 and figs. For Sthapana, ibid., 113ff, fig. 43.
55. Caumukha images are also found on tops of Samavasarana icons, for Samavasaraṇa, see ibid., pp. 85-95, fig. 76. For Caumukha sculptures, ibid., fig. 28 (from Son Bhandara cave, Rajgir), fig. 74 (from Terahi, M.P.), fig. 84 (from Surat); Jaina Art and Architecture, I, pl. 18 (from Mathura); ibid., II, pl. 159 A and B (from Deolia and Purulia respy.), pl. 257B (from Mudabidri), etc. For discussion of four-fold sculptures on top or bottom of pillars-Manastambhas-and allied matters, see Shah, U.P., Jaina Anusrutis... etc.... Motichandra Memorial Lecture, Journal of Indian Museums, vol. XXXIV (1978), pp. 1-34. esp. pp. 18-22.
56. Studies in Jaina Art, pp. 77-84, fig. 14B. Jaina Art and Architecture, I, pl. I.
57. Shah, U.P., Moti Chandra Memorial Lecture, Journal of Indian Museums, vol. XXXIV (1978), p. 15 and figs. 1 and 2. Worship of pillars was known to Buddhists also, compare Fig. 11, in The Art of India through the Ages, by Stella Kramrisch (London, 1954), showing worship of the Dharmacakra Pillar by a male and a female, carved on a pillar near the north entry at the Sanchi Stupa (c. second century B.C.).
58. See Fleet, Gupta Inscriptions, Corpus Inscriptionum Indicarum, III, pp. 66-68.
59. The practice has remained popular with the Digambaras. At Devgadh are several pillars which show variations in and elaboration of Mänastambhas, see Devagadh ki Jaina Kala (in Hindi) (Delhi, 1974), by Bhagachandra Jaina, figs. 28, 43, 44, 45, 46, 47, 48.
In Southern India there are so-called Brahmadeva pillars and other pillars in front of Jaina shrines. S. Settar has explained that these pillars do not show figures of Brahma Yakṣa or Brahmadeva but the pillars have figures of Sarvanubhuti Yakṣa. He has shown their origin in the Manastambhas. Cf. S. Settar, The Brahmadeva Pillars, Artibus Asiae, vol. XXXIII, nos. 1-2, pp. 17ff.
29.
60. Also see Bannerji, J.N., Development of Hindu Iconography (first ed.), p. 114 and note..
61. Coomaraswamy, A.K., Elements of Buddhist Iconography, figs. 4-10, and pp. 10f.
62. Cf. Rgveda, VI.16.13; 1.59.1-2; IV.13.5; V.29.4; X.5.6. According to Coomaraswamy, op. cit., p. 66, "The axis of the Universe is coincident also with the fiery Sivalingam set up, according to the Devadaruvana legend, in the foundations of the Earth and extending upwards to Heaven. The Jyotirlingas were originally perhaps such fiery lingas. One such linga with flames exists in the Bharata Kala Bhavan, Varanasi.
63. Adipurana of Jinasena, 22.92-102, pp. 515-16. The name Manastambha is explained as follows:
मानस्तम्भान्महामानयोगात् त्रैलोक्यमाननात् । अन्वर्थसंज्ञया तज्ज्ञ मनस्तम्भाः प्रकीर्तिताः ॥१०२॥ Tiloyapanṇatti, 4.782, gives another explanation: माल्लासयमिच्छा वि दूरदो दंसणेण थंभाणं ।
जं होंति गलिदमाणा माणत्थंभ ति तं भणिदं ॥ ७८२ ॥
64. Tiloyapanṇatti, 4.779ff, vol. I, pp. 243-44. S. Settar, The Brahmadeva Pillars, Artibus Asiae, vol. XXXIII, pp. 17ff, figs. 1-3.
65. Indramaha was the most prominent of all other mahas
(festivals) in ancient days. Bharata is said to have celebrated eight days' festival in honour of Indra (Avasyaka Curni, p. 213). Indramaha is also mentioned by Bhasa (Pusalkar, Bhāsa, A Study, chp. 19, p. 440f), also in the MBH, I.64.33, and Kathasaritsägara, etc. According to Rāmāyaṇa, IV.16.36, it was celebrated on the full-moon of the Asvin in Gauda-deśa. Indalatthi (Indra-yaşți, the same as the Indradhvaja) is mentioned in the Nayadhammakahão, I, Bhagavati sutra, 9.6; also in the Mahabharata, VII.49.12. Also see Brhat-KalpaSutra, vol. IV, gāthā 5153.
Jaina texts mention festivities in honour of (1) Inda, Indra, (2) Khanda, Skanda, (3) Rudda, Rudra, (4) Mukunda, (5) Siva, (6) Vesamana, Vaiśramaņa, Kubera, (7) Näga, (8) Jakkha, Yakṣa, (9) Bhuya, Bhuta, (10) Ajjä. Ärya, the same as Durga, (11) Koṭṭakiriya, Mahiṣamarddini... Näyādhammakahão, 8. Bhagavati sutra, 3.1. Acaränga sutra, 2.1.1.2, sutra 12; Nayadhammakahão (Vaidya's ed.), pp. 49f.
66. Bhagavati sutra, 20.9, su. 684, 794. For the Nandisvaradvipa, festival thereon and representations of Nandiśvaradvipa, see Studies in Jaina Art, pp. 119-121, figs. 63, 89.
67. For a detailed discussion on the origin and conception
of Caitya, see Shah, U.P., Studies in Jaina Art, pp. 3975 where conceptions of Caityas, Caitya-stūpas, Caityastambhas, Caitya-vṛksas, etc. are discussed with Jaina and other sources.
68. Jaina commentators explain Ceiyam-Caityam in kallāṇam mangalam devayam ceiyam etc. as Jinädipratimā or Iştadevapratima. See Studies in Jaina Art, p. 50. 69. Ibid., p. 53, note 4.
70. Coomaraswamy, History of Indian and Indonesian Art (HIIA), p. 47. Also see Odette Viennot, Le Culte De L'Arbre Dans L'Inde Anncienne, pl. VIII, fig. D from Amaravati Stupa.