Introduction to Jainism

SR No.: 006919
Original Sutra Author: N/A
Author: Rudi Jansma, Sneh Rani Jain
Publisher: Prakrit Bharti Academy
Publication Year: 2006
Total Pages: 256
Language: English
Classification: Book_English
File Size: 5 MB

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INTRODUCTION TO JAINISM
The fifth stage
The instruments and skills reached a high level of development during the Parśvanāth period when the Nāgavanshis started to make idols of Nāgarāja (literally the Serpent King) and of paired serpents. The Nagarcoil temple of Nāgarāja near Cape Comorin (Tamil Nadu) is said to be very old. A stolen Jina from that period from Kalinga in Bihar is famous from literature, but it is not known where the icon is now. Like the Indus torsos the Jinas here were made of black touchstone or of granite, and also of red sandstone. Jinas of this period can be seen in most of the old Jain temples (photo 24).
The approximately 3000 year old Jina of Jinthur (Maharashtra) in touchstone is one of the first attempts to make a detached sculpture of hard stone, and is therefore one of the earliest pieces of fifth style art. The arms are partly free, but quite cunningly the artist lets the sculpture lean on a frame on which he has carved plants (photo 25). The style in which he has done this links this piece of art with an early Indus style. This image therefore fills the gap between the older Indus style and the standing Parsvanāth of Chandragupta (photo 26), which is supported almost entirely by a curled seven-headed serpent.
Long before the fifth stage in hard stone was reached, images were made of limestone covered with charcoal paste. The Jina of Paithan (the 20th Tīrthamkara, Munisuvrata) Rāma and Sitā are said to have used personally for their worship, is an example of this (photo 27). Despite its very great antiquity this image shows the fifth stage of art, long before such images could be made of touchstone or granite, as can be seen on the previous two photos. This was far more difficult in stone, and these two photos show early efforts.
The intention to express the beauty of penitence by means of icons of the Jinas was a reflection of the desire to express the noble qualities of the soul, and with it one also