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 Tirthankaras
goblins such as vaitala-monster, pisaca-demon, dākīni and by grahas (obscuring planets), snakes, eagles, Kumbhanda monster with their terrifying cries to frighten Pārsvanatha. An upsarga by bewitching apsarases was also created to lure away Pārsvanatha from his trance. After failing in his efforts to shake Pärśvanatha, Śambara next caused non-stop rains. When the rain water crossed the shoulder of Parsvanatha, Dharanendra came to his rescue along with naga ladies. Dharanendra next raised his seven hoods over the head of Parsvanatha for providing full cover and rested Jina's feet in the lap. As usual, Padmavati raised a parasol over the snakehoods of Dharanendra. Śambara, annoyed to find his efforts going futile, consequently attacked even nagaraja Dharanendra with the weapon such as thunderbolt, vajradanda, and mountain boulders, in which too he failed. Filled, then, with remorse Sambara bowed to Parsvanatha asking for forgiveness. (This story at once reminds us of the identical story of the attack of Māra on Buddha).
The details of upsargas in the figures of Parsvanatha from Ellora almost fully correspond with the details in the Pasanahacariu. The compositional scheme in Pārsvanatha images from Ellora is superb. The slender and motionless figures of Parsvanatha at Ellora show tranquillity and weightlessness. The face of the mūlanayaka is always calm and benign with a smile to suggest that unshaken by the upsargas, he remained in deep trance and meditation. The body of Padmavati, though slim and tenderly flexioned, is slightly fleshy with bewitching feminine beauty. The figures of Sambara in its different emanations show different modellings, sometimes fleshy and bulky and sometimes dwarfish and ugly looking. The physical and facial features of the figures of hostile Śambara are always terrifying. MAHAVIRA OR VARDHAMANA (24 Jina)
Mahavira, also known as Vardhamana (c. 599-527 B.C.) was a senior contemporary of Gautam Buddha. The cognizance of Mahavira is lion while the Yakşa
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and Yakşi associated with him are Matanga and Siddhāyikä or Siddhayinī. Both the Svetämbara and Digambara texts refer to various upsargas which were caused by the Sangam Deva and evil spirits like Śūlapāṇi Yakṣa during the course of the tapas of Mahāvīra.
The earliest-known figures of Mahavira, found from Kankali Tila, Mathura, are datable to Kusana period. About seven figures of Kuṣaṇa period (1st to 2nd century A.D.), mostly seated, are preserved in State Museum, Lucknow (Acc. Nos. J.2, J.14, J.16, J.22, J.31, J.53, J.66) (PI. 120). These figures are identified only on the basis of the pedestal inscriptions which in six examples refer to 'Vardhamana' while in one case (J. 2) the name in the inscription is 'Arhat Mahavira'. The inscription dated in A.D. 242 indicates that the image of Arhat Mahavira was set up in the temple of Arhats. It was only during the Gupta period towards the close of sixth century A.D. that the lion cognizance was carved with Mahavira, the example of which is procured from Varanasi. The above image is now in Bharat Kala Bhavana, Varanasi (Acc. No. 161). The image in its plasticity exhibits serenity, elegance and animation of Gupta art. The body contours reveal vegetative rhythm. The image exemplifies an admirable synthesis between the external form and the inner strength with the result that the figure exudes spirituality. Mahāvīra absorbed in deep meditation is seated without trichatra on a throne decorated with Viśvapadma. Mahāvīra absorbed in deep meditation has weightless slim body and plane but graceful halo. The two lions flanking the dharmacakra are suggestive of the cognizance of Mahāvīra. The extremities of the throne are occupied by diminutive figures of two seated Jinas in place of usual lions supporting the throne (simhasana). It may be noted that the image bears testimony to the prevalence of the convention of showing the cognizances of the Jinas in pairs on two sides of the wheel, the earliest instance of which is found at Rajgir. During the 5th-6th century A.D., another interesting form of Mahāvīra image as