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
Such instances are known from the Svetāmbara Jaina The figure (10th century A.D.), preserved in the sites at Kumbharia (Sāntinātha Temple - 11th century neighbouring Sahu Jaina Museum, was originally A.D.) in Gujarat and Mt. Abu (Vimalavasahi - 12th enshrined in the Temple No. 12. Bharata in this example century A.D.) in Rajasthan. In one example from as usual stands in the kāyotsarga-mudrā on a triratha Satruñjaya, Bharata muni is represented as standing. pedestal. An aureole decorated with lotus petals is The pedestal of Bharata shows a disc weapon (insignia carved behind his head. Over the shoulders of Bharata of Cakravarti).
are shown dangling locks, which at once remind us of In sculptures, Bharata is always portrayed as his father Rşabhanātha, who, according to the Jaina standing in the kāyotsarga-mudra and absorbed in tapas tradition, is the only Jina to have falling hair locks. and meditation like a muni. As he renounced all material Above the head of Bharata is carved a single parasol, possessions before retiring to the forest for tapas, he since he is merely a kevalin. At right of Bharata are is shown in sculptures without any royal insignia and carved nine vases, arranged in three rows, which are ornaments. The figures of nine treasures and fourteen symbolic of Navanidhis. The vases are topped by seated jewels, possessed by Bharata as Cakravartin but later figure of two-armed Kubera, lord of Nidhis, holding renounced are depicted on the pedestal and in the a fruit and a purse. Further up are carved the sword, parikara. The image of Bharata can be distinguished the staff, the umbrella, the cakra and the cowrie. On from that of the Tirthankara only by the rendering of the left flank there appear three male figures sitting in Navanidhis and fourteen Ratnas. All the images radiantlalitasana and holding a plough, a vajra and the abhayawith spiritual grace stress the point of absolute mudrā. These figures may be identified with the Grhapati, renunciation and austerity.
the Senāpati and the priest (or the carpenter ?). Deogadh has yielded five images of Bharata which The figures of horse (with a man holding its rein), are maximum number of independent images of Bharata elephant and the woman (sitting with her hands kept at single site. The sculptures of Bharata at Deogadh near the face) are also depicted on the left side. Thus are datable between the 10th and the 11th century A.D. eleven of the fourteen jewels have been shown here. (Pl. 228). The figures, fashioned in the buff-coloured The other figures of Bharata are almost identical in sandstone, exhibit Bharata as sky-clad and standing in details. the käyotsarga-mudră with his arms reaching down to
JĪVANTASVĀMI IMAGES the knees. Of the five figures, two are enshrined in Jivantasvāmī, in the first instance, is Mahāvīra Temple No. 2, while one is fixed on the eastern wall (the 24th Jina) meditating in his palace prior to of Temple No. 1. One figure (A.D. 1032) is also renunciation. According to the Svetāmbara Jaina preserved on the modern enclosure wall of Temple No. tradition, a sandalwood image of Mahāvīra, wearing a 12 on north. The last figure is housed in the neighbouring mukuta and other ornaments befitting royalty, was carved Sahu_Jaina Museum. All the figures are marked with in his life time (c. late 6th cent. B.C.) during the course the srivatsa in the centre of the chest. The hair of of his tapas in the palace about a year prior to Bharata, in all the cases, is arranged in curls with a renunciation. Such images of Mahāvīra are hence called protuberance (uşnişa) at the top. The modelling of the Jivantasvāmi or Jivitasvāmi (truly a portrait statue). sculptures is good and they have hardly any sign of Like the Bodhisattva, who is yet to reach Buddhahood, stiffness. The limbs of these figures are in fine proportion. Jivantasvāmi also represents a concept which may be The faces are small and half-shut eyes suggest deep called Jinasattva. The Jivantasvāmi concept is also meditation and inward look.
suggestive of the fact that a person in his life time even
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