Tirthankar Bhagawan Mahavir 48 Chitro ka Samput

SR No.: 004065
Original Sutra Author: N/A
Author: Yashodevsuri
Publisher: Jain Sanskruti Kalakendra
Publication Year: 2007
Total Pages: 301
Language: Hindi, Gujarati, English
Classification: Book_Devnagari
File Size: 35 MB

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14. Types of musical instruments:
15-16-17. Jain arabesque (paraghara):
188
There are thousands of types of musical instruments in the world. They are classified into four fundamental groups. 1. Stringed musical instruments,
2. Wind musical instrument,
3. The castanets and
4. Musical instrument of percussion. It should be noted that any sound of the musical instrument is produced by the vibration caused in the air.
Stringed instruments have strings or wires Hence they are Tarvadya as well. Such instruments are played with the fingers or the bow. Veena, Sitar, Sarod, Sarangi, Dilruba, Tanpura etc. are included in this group. The wind instruments give musical sound when air-pressure is created by blowing air orally or by creating air pressure with some gadget. 'Sushira' means having a bore, hole. The musical sound is created by the fingers on the bore and the air passing through the instrument. In this group one may mention conch-shell, flute, oboe (shahanai), bugle, whistle of leaves, mouth organ etc.
The castanets are those which produce sound when one part of it is struck against the other giving strong solid tone. Among them are included cymbals, Manjiras, kartal, lazim etc.
Among the instruments of percussion 47 are those which are hollow and covered with leather. They are played with hand or by small sticks. Among these one may include, Mridanga, Tabla, Packwaj, drums of various types, khanjari etc.
In this strip musical instruments are shown with the names of the classes of them. Some classify musical instruments into three groups.
They classify castanet instruments of percussion into one group and call this group as Talavadya because they do not play the melody but are used only to maintain musical rhythm. Hence they are included in one group. These three illustrated strips show the arabesque carved in the background of the icon of Tirthankara Deva in the Jain temple. Parikara is the Sanskrit word meaning attendant in figures. The Jains in their language call it 'Paraghara'. Parikar means Parijan or attendants Parikara thus means gods and goddesses related to the icon. Most of the Jains are ignorant of the figures in the arabesque and their purpose. These three illustrated strips are presented here to give them some idea about it even at home. All current customary figures are depicted here. Their introduction is given below.
STRIP NUMBER 15:-The semicircle portion above the icon is shown here flat and straight. Here the gods are shown as going in a procession to celebrate the birth (of a Tirthankara). They are playing music for the holy bath and installation ceremony. At the centre a god is shown sitting on threefold divine umbrellas, sitting in a peculiar seat posture and blowing the conch. On both the sides are shown Gandharvas (demi-gods) playing the drum. They are followed by Indras riding elephants who hold holy pitcher filled with water. They are going on Mountain Meru in the sky to join the celebration of the birth (of Tirthankara) under the god who blows the conch. There are three divine umbrellas kept on the icon as divine accompaniments there are lotus-stalk bearers carrying lotuses to be kept on both sides of the ears of the icon. After them are shown the domes of the minor temples on both the sides. The circular portion above the arabesque shows a line of swans and lotus petals between two lines. Peacocks and parrots are also shown to add to the decorative value. In some of the arabesques Gandharvas (demi-gods) and their spouses are shown in the upper strip but that is not shown here. Thus here are shown only those Parikars which are usually presented in current art9
In ancient times great attention was paid for creating varieties of Parikars from the view-point of subjects and art. But at present the arabesques are conventional, simple and almost proto types. There is hardly any freshness of beauty in them. This may be due to lack of interest in art, lack of vision or paucity of financial resources. In ancient times arabesques were remarkable for their variety, for their artistic vision, for their excellent linings and for their attractive and impressive sculpture.50
STRIP NUMBER 16:
In this strip of the arabesque the central figures are shown. At the centre the icon of Mula-Nayaka is shown. Then on his right and left side icons in standing position and in Jina Mudra (Kayotsarga-Mudra) are shown. Then on both the sides gods holding the chowries the pitcher of nectar are shown. Then on both the sides are shown the figures of the friendly meeting of the elephant and the crocodile. Then on both the sides are shown icons in lotus-postures. Then on either side of the figurines is shown an acquatic animal like a crocodile emitting foam 32. In ancient times the arabesques were variegated and the Mula-Nayaka only was generally placed at the centre. Then the number of arabesques with three icons at the centre increased. Here on the right and the left side of the central Mula
Note: 46. Stringed instruments are also called Tata or Tanta.
Note: 47. The instruments of percussion are also called 'Anaddha' or Avanaddha' in Sanskrit. 'Anaddha' means covered or inlaid. These instruments are covered with stretched leather.
Note:48. There are some musical instruments which don't fall completely into one specific group e.g. harmonium. piano etc. They are to be considered as of the mixed class. These instruments are partly wind-instruments and partly castanets. Note: 49. These strips follow the arabesque shown in the sanctum sanctora of the Jain Temple at Chembur.
Note: 50. Though there are many types of arabesques shown in ancient sculpture the best ones as far as known are at Khada-Khotdi Pada in Patan and at Nisha-Pole in Ahmedabad. The first one is the best in clarity, form and intricate carving while the second one is of the universally loved Shri Parshwa-Natha in an underground cell has lively features and the sculpture is quite flawless. Note: 51. This posture is also popularly known as 'Khadgasana
Note: 52. The correct name and the correct motive of showing it here is yet unknown.