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
Jīvantas vāmī began to appear, the earliest examples of which are known from Akota (Gujarat).
Two 7th century examples of Mahāvīra images standing as sky-clad in the kâyotsarga-mudră are found from Dhank. The Yakşa-Yakṣi with Mahāvīra were carved only in 9th 10th century A.D., the examples of which are found mainly from Deogadh, Gyaraspur, Khajuraho, Kumbharia and Ellora. Usually the Yaksa- Yakși do not correspond with textual prescriptions. They are carved on the basis of some regional traditions.
A relief sculpture of Mahāvīra, flanked by camaradharas, could be seen in the sanctum of Jaina cave of Aihole. The pedestal shows three lion figures, two at the throne ends which suggest simhasana while the central lion figure represents the cognizance. In western India several figures (c. 10-15th centuries A.D) are found from Katra, Akota, Osian, Bharatpur (Rajasthan), Kumbharia (Neminātha and Pārsvanātha temples), Delvada, and Satruñjaya. These figures with lion cognizance and sometimes with the name inscribed in the inscription show Sarvānubhüti and Ambika as Yaksa and Yaksi.
An interesting, rather rare, stone image of A.D. 1166 from Ashavakhera shows Mahāvīra seated on a simple pedestal with lion cognizance. In the centre of the pedestal a two-armed goddess showing abhayamudra and kalasa is carved. At right extremity is a nude standing figure of Kșetrapāla holding a mace and a chain to which his dog mount is fastened. The presence of the two-armed Gomukha Yakşa, Padmavati Yakşi, having three-hooded snake canopy and Cakreśvarī Yakşi riding a garuda is indeed interesting. It is surprising to find with Mahāvira the figures of the Yakşa and Yaksis associated with Rşabhanātha and Pārsvanātha Jinas. The image probably represents the composite image of Mahāvīra wherein the figures of Yaksa and Yaksis suggest the presence of Rşabhanātha and Pärsvanātha.
Deogadh has yielded about nine images (10h-12h centuries A.D.) which all show lion cognizance and
Yaksa-Yakşi figures. In one example of temple No. 11 (1048 A.D.), the four-armed Yaksa and two-armed Yakşi are carved. The Yakṣi with a child is provided also with snake canopy which suggests the features of both Ambika and Padmăvati. Khajuraho also has yielded nine images (10h-12th centuries A.D.) (Pl. 165). In eight examples Mahāvīra is seated in dhyāna-mudrā with lion cognizance. The Yaksa and Yaksi in all the cases are either two or four-armed and they at times are also Provided with lion mount. In one case the Yaksi holds manuscript which is in accordance with the textual prescription. The images from Deogadh and Khajuraho exhibit the medieval features with complicated parikara.
Two examples of 8ch century A.D. are preserved in Son Bhandar cave (Rajgir) while the other examples are obtained from Aluara, Charampa and Khandagiri. In case of Bārabhuji cave the Yakṣi with Mahāvīra is twenty-armed.
Mahävīra on the basis of the sculptures appears to have been popular both in north and south India. In north his popularity comes next to Rşabhanātha and Pārsvanātha while in south India he was next to Pārsvanātha only. A good number of temples of Mahāvīra were also erected.
In south India several sculptures and rock-cut figures of Mahāvīra with lion cognizance (carved in the centre of simhasana) have been found. These figures datable from about 8th to 15th century A.D. are found mainly from Badami (Pl. 166). Vallimalai (Chittoor, A.P., 9th - 10th century A.D.), Kalugumalai (Tamil Nadu), Kilakuyilkudi (Madurai), Tirumalai (North Arcot, Tamil Nadu, 11th century A.D.), Ellora (caves 30 to 34 with Sarvānubhūti Yaksa and Ambika Yakşi) and Sravanabelagola (c. 12h century A.D., Pl. 167).
The Kilakuyilkudi figure is a magnificent rockcut Mahāvīra image seated with a flaming halo, charming fly-whisk bearers and Vidyadharas fluttering in great devotion (almost touching the triple umbrella). The carving is aesthetically of a high order and it should
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