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 151

Parsvanatha in Figural Art of Karnataka
133
why they were harming the creatures. Surprised and angered they asked him to show the creatures that were said to have been harmed. Pārsvanatha took out a burning fire-wood from the hearth and split it with an axe. Within the burrow of the wood were found two serpents male and female already partially roasted struggling for life. Realising that they would not survive, Pärśvanätha exhorted the mantra of Pancanamaskara (i.e. Reverence to Arhats, Siddhas, Acaryas, Upadhyāyas, and Sadhus) and left the place grief-striken. Later, while he was engrossed deeply in meditation in the forest of Ahicchatră, a semi-divine being Kamatha, his former enemy, saw him and remembering the enmity of the previous existence, proceeded to torment Parsva by throwing at him brick, stone, and the like. But Pärsvanatha remained unshaken and unperturbed. Thus failed Kamatha, next conjured up a downpour with thunder so as to drown him. In the meanwhile the two serpents which were led to the heavenly path at the time of their death, had been born as Dharanendra Yakṣa and Padmavati Yakṣi in the Patalaloka. No sooner did they know about the calamity inflicted on their guru than did they rush to the spot of upasarga to help him. Padmävatī supported him on her crown and Dharanendra spread his hoods over his head. And at that moment Pārsvanatha got enlightenment.
In the light of the above Puranic story, the sculpture described represents obviously Pārsvanatha with Dharanendra and Padmavati and the two serpents beneath them in it indicate to the immediately past life of the Yaksa and Yakṣi.
Some other aspects during the Calukya and Hoysala periods In northern Karnataka during the Kalyāṇa-Calukya period, the back-seat of Jina Pārsvanatha seated in padmasana, shows the finely carved makara-torana
Under the Hoysalas, in south Karnataka, the Jina images in general are characterised by the parikara-background intricately carved with minutest details, especially of the mukkode under which the Jina is represented in khadgasana and also the ornaments of the Indras on the sides attending upon the meditating Jina.
In the Jina sculptures of the Kalyāṇa-Calukya and Hoysala periods, the difference is only in the degree of excellence connected with an intricate carving of the mukkode and the Indras as camaradharas. Besides, in many cases, the spiral hair ringlets above the head are artistically rendered. The spiral body of the snake and the seven hoods are realistically depicted by detailing the skin-scales and the naturalistic treatment of the rest of the body. But the narrational aspect of the Jina's portrayal with Yakṣa and Yakşi engaged in the protective action and the Kamatha charging with stones etc. are no longer represented. The Yakşa and Yakşi are