Arhat Parshva and Dharnendra Nexus

SR No.: 002108
Original Sutra Author: N/A
Author: M A Dhaky
Publisher: L D Indology Ahmedabad
Publication Year: 1997
Total Pages: 204
Language: English, Hindi
Classification: Book_English, Articles, History, Art, E000, & E001
File Size: 8 MB

Page 147

Pārsvanātha in Figural Art of Karnataka
129
Pārsvanātha in Sculpture
From the Vātapi-Cālukya period onwards, Jinālayas were erected in progressively larger number. Tirthankaras are shown exclusively in two forms; in khadgasana (kāyavyutsarga) or in padmāsana. In the khadgāsana or kāyavyutsarga form, Jina Pārsva is usually flanked by the seated or standing Dharana Yakșa and Yaksi Padmavatī; and above the Näga hoods is mukkode or chatratraya, triple umbrella. Near the shoulders are depicted cămaras on both the sides, though this is not an invariate feature. In Gulbarga region, on the central part of the chest may be delineated the śrīvatsa symbol; but this is a rare feature to meet with.
In the padmāsana form, usually the Tirthankara is shown as seated on a seat with pillow behind against the makara-pattikā as the back. The image is flanked by Indras as camara-bearers. In this case, almost invariably, and occasionally in the other form, the Yaksa and Yakşi are separately installed on the sides of the doorway to the garbhagyha, and thus in the antarāla-vestibule of the caityālaya. The images in these two forms are generally consecrated as cult-icons in the garbbagrhas.
Images of Pārsvanātha in padmāsana are depicted as lalāțabimba at the central block of the lintel of a doorframe, but generally without the Yakṣa and Yakși figures for lack of space. The Jina, in rather rare instances, is also shown in khadgasana on the exterior wall (Hallūr temple of the Rästrakūta period, Nittür temple of the Cālukya period, śāntinātha-basadi in Jinanāthapura near Sravana Belgoļa and of the Hoysala period), and as one of the four Tirthankaras in the Caturmukha-Sahasrakūta representation in the Sankha-basadi, Lakşmeśvara (Shirahatti Taluk, Dharwad District). The khadgāsana-murti form also figures at the centre (or alternatively also the padmasana) along with the other Tirthankaras in similar posture surrounding the central image in caturvimśati-pattas.
Very rarely indeed, the main episodes from the life of Pārsvanātha are carved in a narrative vein. The only one of its kind is probably a series of such panels in the columnar hall in front of the Pārsvanātha temple in Halebidu, known as “Vijaya Pāraśvanātha" (A.D. 1133) founded by Boppadeva in memory of his father Gangarāja, a minister and general to the Hoysaļa king Vişnuvardhana.
Images of Pārsvanātha in the two usual forms with some variations in regard to the auxiliary features, especially the first two, are most commonly found in the main Jaina centres: Bādāmī, Aihole, Kambadahalli, Sravana Belgola, Humca, Shimoga area, and Mudabidre (Karkala) where there are numerous Jaina basadis. However, a few of the Pārsvanātha sculptures in Bādāmi-Aihole, Humca, Śravana Belgola and in Bilicodu are endowed with some special features which render them more dramatic