Encyclopaedia of Jaina Studies Vol 01 Jaina Art and Architecture

SR No.: 006774
Original Sutra Author: N/A
Author: Sagarmal Jain, Others
Publisher: Parshwanath Vidyapith
Publication Year: 2010
Total Pages: 726
Language: English
Classification: Book_English
File Size: 51 MB

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Encyclopaedia of Jaina Studies
cognizance, lateral strands and Gomukha Yaksa (bearing parasu) suggest the semblance between Siva and Rşabhanatha which is indicative of the commonality of Indian tradition. The Yakşa-Yakși associated with Rsabhanātha are Gomukha and Cakreśvari (or Apraticakrā), apparently representing the two principal deities respectively of Saiva and Vaisnava cults to suggest perhaps the superiority of Rşabhanātha.
The earliest known images of Rşabhanātha, procured from Mathura and Chausa are datable to 14 2nd century A.D. which are identified mainly on the basis of hanging hair-locks (Pl. 122). However, in three instances from Mathura (State Museum, Lucknow, J. 26, J. 69 and Government Museum, Mathura, B. 36), the name of Rsabhanatha is also inscribed.
The images of Gupta period (4th to 6th centuries A.D.) are mainly found from Mathura, Chusa and Akota. The figures from Mathura show beautifully delineated long curly jatäs and typical ornate halo. However, in one instance from Government Museum, Mathura (12.268), the name of Rşabhanātha is also inscribed (Pl. 131). During the Gupta period the rendering of small Jina figures somewhere on the simhāsana or in the parikara was also introduced. The earliest Svetāmbara images coming from Akota also represent Rşabhanātha as standing and clad in dhoti (Pl. 132). The Svetāmbara metal image of Rsabhanatha (standing) from Akota also shows for the first time the figures of Yaksa and Yakși with the Jina. Rsabhanātha is joined by two-armed Sarvānubhūti (or Kubera) Yaksa and Ambika Yakṣī, the earliest Yakşa-Yakşi figures to be associated with the Jinas. It may be remembered that it was only from 7th-8th century A.D. that the traditional Yakşa-Yakși Gomukha and Cakreśvarī were shown with Rşabhanātha.
The Gupta. figures reveal all the plastic qualities of Gupta period in terms of expression and spirituality.
During the early medieval period all the above features were crystalized and the parikara was more elaborate having small Jina figures, sometimes their number being 23 and thus making the images as Jina
Cauvisi of Rşabhanātha. Of the numerous western Indian Svetambara sites special mention may be made of Vasantagarh, Osian (Mahāvīra temple and Devakulikasg19-11th centuries A.D.), Akota, Kumbharia, Delvada, Satrunjaya and Ranakpur. At Svetämbara Jaina sites mostly the Yakşa-Yakşi shown with Rşabhanātha are Sarvānubhūti and Ambikā with few exceptions where Gomukha and Cakreśvari are carved.
A beautiful metal image of Sarvat 1186 (A.D. 1129) is preserved in the Rayland House Gallery Private Collection, London. In concurrence with the Svetāmbara Jaina tradition of western Indian bronze images, the present Jina image along with lateral strands and the bull cognizance gives the name of the Jina as Adinātha. The Yakṣa and Yakşi carved at the throne extremities are Kubera (with fruit and purse) and Ambikä (with a bunch of mangoes and a child). The beautiful bronze sculpture with the small figures of 23 Jinas is exquisitely done. The symbolic renderings of the Navagrahas (shown as small human heads) and two deer flanking and facing the dharmacakra (a motif borrowed from the Buddhist art of Sarnath) are also remarkable. Another beautiful example in metal from Jaisalmer (Rajasthan) is now in the Berlin Museum (Pl. 137). This image (A.D. 1144) also contains the figures of 23 other Jinas in parikara.
It is somewhat surprising that at the Digambara Jaina sites of north India, Rsabhanatha was accorded the most exalted position but in south India his popularity comes only next to Pārsvanātha and Mahavira. Of the most prolific north Indian sites, mention may be made of Mathura, Deogadh (more than 60 images), Khajuraho (more than 50 figures), Dudahi, Chanderi, Rajgir, Pottasingidi, Manbhum, Khandagiri, Charampa, Surohar (Dinajpur, Bangla Desh) and Purulia (Pls. 134, 135, 136). What is specially important is the beautiful jatājūta or jață-mukuta shown with Rşabhanatha at Deogadh, Khajuraho, Surohara and at a number of places in Orissa (Pl. 134). An image of Rsabhanātha seated in dhyāna-mudra with jață-mukuta and hanging hair-locks is preserved in a Jaina temple at Vaibhāra hill (Rajgir,
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