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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Jinas or Tīrtharkaras
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the whole composition. The panel of standing Pärsvanātha with snake-hoods over his head is a gem of early Pandya art. The artist even in a constrained scope of figure like that of a sky-clad Jina has succeeded in presenting it in exquisite proportions and grace, even in the rigid posture of käyotsarga. Instead of merely arranging the snake coils behind Pārsvanātha and the hoods over his head, it is shown in theri-anthropomorphic form as Nāgarāja, a princely figure with his own hoods over the head canopying the Jina, a magnificent conception indeed. To the right above is Kamatha with a large boulder lifted over his head to disturb the Jina. Dharanendra bows and Padmāvatī gracefully holds up the parasol.
Another image from Godapuram (Kerala, 10th century, in Trichur Museum) is a rare sculpture illustrating Pārsvanātha standing in stately elegance. The figure is characterised by a rare simplicity and grace. A few places in Kerala like Chitaral and Kanyakumari have yielded prominent rock-cut carvings of 9th century A.D. which exhibit Pārsvanātha with Dharanendra and Padmāvati.
Two graceful stone images of Pārsvanātha (with seven-hooded snake canopy) standing as sky-clad in kāyotsarga-mudrā, belonging to 11th - 12" century A.D., are found from Penukonda and Pattankudi (both in Karnataka), the latter one is provided with the figures of four-armed Yaksa and Yakși also (Pls. 160, 161). The aştaprātihäryas (including trichatra) are however not carved.
A good number of Pārsvanātha images (more than 25) both in stone and metal, are preserved in the Victoria and Albert and British Museums of London. A stone image of seated Pārsvanātha in the British Museum from Karnataka (11 - 12th century A.D.) is a rare example showing the figures of Dharanendra Yakșa and Padmavati Yakşi riding respectively on an elephant and kukkuța-sarpa and holding lotus and fruit. In another example of 11th century, hailing again from Karnataka, Pārsvanātha is provided with Yakși riding a crocodile which is suggestive of the varying regional traditions.
One of the most exquisitely carved Svetämbara metal figures of Parśvanätha from Western India is in the British Museum (Acc. No. 1974.4-11.1). It is datable to A.D. 1050 (Pl. 162). Pārsvanātha sitting under sevenhooded snake canopy is flanked by two standing Jina figures wearing dhoti. Besides the aştaprätihāryas, two deers flanking the dharmacakra and eight planets (in place of nine), the figures of Kubera and Ambikā as Yakșa and Yakși are also carved. Another beautiful example is in the Los Angeles County Museum of Art. The metal figure in addition has the standing figures of Apraticakra and Vairotyä Vidyādevis on two flanks. The representation of these two Vidyādevis with Pārsvanätha is found also at Osian. It may be remembered that in later texts Pārsvanātha is said to have the command over all the Tantric goddesses (Vidyās).
Of the two important stone sculptures (12" century A.D.) in the Victoria and Albert Museum [Acc. Nos. 31 (IS), 937 (IS)], coming as they do from Gulbargā (Karnataka), one is particularly interesting because of the pedestal inscription as well as the figures of fourarmed Dharanendra and Padmāvati bearing goad and noose in two hands. The pedestal inscription of this graceful figure of Pārsvanatha in käyotsarga-mudra records the carving of this image for the Pārsvanātha temple.
Ellora : In Ellora (caves 30-34, c. 9th century A.D.), Pārsvanātha is represented by over 31 figures, this being the highest figure of Pārsvanātha at any single Jaina site (Pl. 154). Of the 31 rock-cut figures with beautiful composition and body, nine show Pārsvanātha in dhyāna-mudra, while the remaining ones are in the kāyotsarga-mudrā. They show almost identical features with certain peculiarities. The placement of the figures of Pārsvanātha mostly facing Bahubali (in the corresponding position on the opposite wall) may have some underlying meaning. Such a placement may have been actuated by the commonality of the fact of rigorous austerities in both the cases.
Pārsvanātha at Ellora, when seated, is usually accompanied by a triple parasol, fly-whisk bearing
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