Jaina Temples of Western India

SR No.: 006730
Original Sutra Author: N/A
Author: Harihar Singh
Publisher: P V Research Institute Varanasi
Publication Year: 1982
Total Pages: 362
Language: English
Classification: Book_English
File Size: 27 MB

Page 220

Sculpture and Iconography
203
dharas and Kinnaras are also shown on the beard and moustache, beaded garlands, bracelets stelae of the gods and goddesses. These figures and armlets. The lower garment consists of a short wear almost similar dress and ornaments as dhoti reaching upto the knees and gathered in the we get in case of the Apsarās, but the Kinnaras centre below the navel; the end of the dhoti hangs have the bare body. As denizens of the down between the legs. But for an uttariya which air they are always shown as hovering in the is thrown round the shoulders and held by the sky. The hovering posture of Vidyadharas and arms, the upper half of the body is left bare. The Naigameşin is indicated by bending one of their legs long narrow forehead bears an urna and the hair is at the back like a ploughshare. Their fluttering well dressed. The garment while riding on horse scarves also show movement and flight. They or elephant consists of crown like headdress, a long carry garlands, lotus, pitcher, fly-whisk and knife, or tight-fitting coat, an uttariya and pointed slipper. play on some musical instruments. The Kinnaras,
The women put on a kucabandha and an upper however, are generally shown in couples embracing
garment which seems like a modern odhani, covereach other or playing on some musical instruments. All the figures have the appearance of young
ing part of the lower garment, back and head upto boys, and on aesthetic plane they approximate
the forehead. The lower garment seems to be a the Apsarā figures.
dhoti whose folds are tastefully arranged in parallel
rows; it is wrapped round the waist and gathered The sixth category includes secular sculptures in the centre below the navel, and its end which comprise miscellaneous themes pertaining to reaches to the ankles. As regards ornaments, they musicians and dancers, attendant figures and cauri- wear circular earrings, two or three necklaces, bearers (Figs. 7, 18, 20), fighting scenes, procession wristlets, bangles, anklets, and an urņa on the foreof warriors, king and his retinue, Jaina Munis, head. One of the necklaces consists of coins; teacher and disciples, mithuna scenes and amorous
rous another type shows a long three-stranded necklace couples, milk churning scene, etc. The amorous
of pearls. couples are represented right above the Apsarā figures on the walls of the Neminātha temple at
The Svetämbara Jaina monks wear a colapataka Kumbharia and the Ajitanātha temple at Taranga,
and a shawl stretched transversely across the chest, and on the ceilings of the Jaina temples at Abu. and carry an ogho. In aesthetic quality the amorous couples also
All these portrait sculptures are very poor in approximate the Apsară figures. The dancers and
workmanship. Compared to the other images musicians, occurring on the pillar-shafts and ceilings,
they are stocky and stiffened. Their facial features are also handsome sculptures. The various reliefs
are similar to one another, and unless there is a of this group are found on the narathara and the
legend it is very hard to make any distinction betceilings, and on aesthetic plane they correspond to ween them. the narrative scenes referred to above.
The seventh category comprises the sculptures This category also includes the portrait sculp- of animals and birds, which include, besides the tures of the Srävakas, Srävikās and Acāryas. The figures of kirttimukhas, nägas and vyālas, those of eleportrait sculptures (Fig. 106) are found only in the phants, horses, lions, geese, makaras, etc. These Vimalavasahi and the Lüņavasahi at Abu and in sculptures have been employed to beautify the the Sambhavanātha temple at Kumbharia. These temples. The kirttimukha, the face of glory, is a sculptures are the effigies of the donors of the very popular depiction in the Jaina temples of temples and their relatives and religious preceptors. Gujarat. Executed in high or medium relief the Carved wholly in the round or high relief they are körttimukhas in all the instances show the head of represented in the standing attitude, or riding on a lion with the mouth spewing creepers. The face elephant or horse. From these sculptures we can is a stylized one; it has goggle eyes and horns on have an idea about the dress and ornaments worn the head. The kirttimukhas are shown in their inby the people of those days. The men wore a long dividual form as well as in bands. In the latter