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 152

Arbat Parsva and Dharanendra Nexus
depicted as seated in padmasana or in a standing posture in an attractive duibhanga. The Dharanendra and Padmavati in dvibhanga from the Päršvanätha-basadi in Halebidu are instances of fine workmanship. However, even when graceful, they lack the dynamism and power of depiction of the preceding examples.
In the Vijayanagara period, the erection of finalayas was largely in the Ghatcoastal region in Bilgi-Gersoppa-Bhatkal and the neighbouring Mudabidre-Karkala tracts. These were foundations largely by the Vijayanagara-feudatories. Generally, the depiction of the Tirthankaras is somewhat rigid, lacking as they do the supplementary details and artistic innovations. The dramatic representation of the surroundings, the unshaken and serene meditative personality of Pärsvanatha in the sculptures of the early period degenerated first into ornamental and next into ossified form as the image probably of the Candogra-Pärśvanätha from the old Gersoppa site illustrates (Plate 67).
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NOTES AND REFERENCES
1. This had been the case not only in early Kadamba times but also, and even with greater frequency, in all subsequent periods in Karnataka.
2. The main deity today seen in the Humca temple is Pārsvanätha, Padmavatī sitting next to the Jina on the altar.
3. These need to be published.
4. However, in the Kuṣāṇa period inscriptions at Mathura, names of such Jinas as Sambhavanatha and Munisuvrata the third and the 20th tirthankara do figure. Ariṣṭanemi, the 22nd, also frequently figures there as he can be identified by the presence, on his flanks, of Vasudeva and Balarama. There may be other tirthankaras in the lot there; but the absence at that date of the lanchana-cognizance does not help identifying these other Jinas.
5. For his paper see here the bibliographical references.
SELECT BIBLIOGRAPHY
1. Annual Report of the Mysore Archaeological Department (MAR), 1930. Directorate of Archaeology and Museums, Government of Karnataka, Mysore 1934.
2. M.A. Dhaky, "Säntara Sculpture," Journal of the Indian Society of Oriental Art, New Series, Vol. IV (1971-72), 78-96.
3. Madhusudan Dhanky (M.A. Dhaky), "Gersappa-näñ Jinamandiro," (Gujarati), Svadhyaya, Vol. XIX, No. 1 (1982).