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
Digambara Jaina sites at Deogadh, Khajuraho, Chandpur, Siron Khurd and Khandagiri. The maximum number of Dvitirthi Jina images are procured from Deogadh and Khajuraho which are mostly shown as standing in the käyotsarga-mudrā. Surprisingly, sometimes two figures of the selfsame Jinas like Rşabhanātha, Supārsvanatha, Pärsvanatha are also carved. The purpose of such images is however not known. In most of the cases two different Jinas are represented along with usual fly-whisk bearing attendants, hovering Mālādharas, lion-throne, trichatra, nimbus, drumbeater and other prātihāryas. The dharmacakra on the pedestal with the worshippers and the respective cognizances are also shown from about 11 century A.D. The Yaksa- Yakṣī figures are also carved. One of the most exquisitely carved Dvitirthi Jina image from Khandagiri is now preserved in the British Museum, London (Acc. No. 1872.7-1.99), which depicts the elegantly standing figures of Rşabhanätha and Mahavira Jinas with bull and lion cognizances carved on the pedestal (Pl. 215). The beautiful jatamukuta of Rşabhanātha (shown in the manner of Siva images) is artistic. The example from Aluara (Manbhum, now in Patna Museum, Acc. No. 10682, 11th century A.D.) also represents Rşabhanātha and Mahāvira with usual cognizances.
Khajuraho has yielded nine images (10th - 12h centuries A.D.) which usually do not show the cognizance. However, Deogadh surpasses all other sites where about fifty Dvitirthi images are found (9th to 12th century A.D.). The Deogadh Dvitirthi images represent Ajitanātha - Sambhavanātha (Temple No. 3), Abhinandana - Sumatinātha (Temple No. 4), sātinātha- Supārsvanatha (Temple No. 12, enclosure wall), Rsabhanātha - Mahāvīra (Temple No. 12, enclosure wall) and Supärśvanātha - Pārsvanätha (Temple No. 8) with the respective cognizances. Sometimes the Yakşa- Yakşi figures are also carved which in cases of Rşabhanātha and Pärśvanātha are traditional ones.
The Tritirthi images were carved only at the Digambara Jaina sites at Deogadh and Khajuraho.
These images, belonging to 10 and 12" century A.D., represent three Jinas standing as sky-clad in the kāyotsarga-mudră along with usual astaprātiharyas. Khajuraho has yielded only one Tritīrthi image (temple 84-114 centuries A.D.) which represents last three Jinas Neminátha, Pārsvanātha and Mahāvīra. Deogadh has produced about 20 images, of which three examples show the standing figures also of Sarasvati, Bahubali and Bharata Muni (Temple Nos. 1 and 2) along with three Jina figures which indeed was an innovation to present Sarasvati, Bahubali and Bharata Muni with the same honourable position as enjoyed by the Jinas. Of all other examples, one important example carved on the enclosure wall of Temple No. 12 (10h century A.D.) represents Neminātha, Pārsvanātha (with seven-headed snake canopy) and Mahavira with conch, snake and lion cognizances respectively. However, the names of Neminātha and Mahāvīra are also given in the pedestal inscriptions. One other example depicts Ajitanātha, Sambhavanātha and Abhinandana (Temple No. 1) JINA-CAUMUKHI OR PRATIMA
SARVATOBHADRIKĀ The four-fold Jina image, known as Jina Caumukha (or Caumukhi) or Pratimā-Saravatobhadrikā, is one of the earliest and most favourite manifestations of Jina images. The term Pratima-Sarvatobhadrikā signifies that the image is auspicious on all the sides. The carving of Jina Caumukhi, showing four Jina figures either seated or standing, started as early as the first century A.D. and its earliest examples are procured from the Kankāli Tīlā, Mathura (Pl. 121). These images remained popular in all the regions in subsequent centuries also. Scholars generally believe that the conception of Jina Caumukhi was based on the early conception of Jina Samavasarana and shows an advancement upon it. But this view is not acceptable for the following reasons. The Samavasarana is the congregation hall erected by the gods wherein every Jina delivers his first sermon after attaining kevalajñāna (omniscience). It consists of
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