ISJS Jainism Study Notes E5 Vol 04

SR No.: 007719
Original Sutra Author: N/A
Author: International School for Jain Studies
Publisher: International School for Jain Studies
Publication Year: 2011
Total Pages: 567
Language: English
Classification: Book_English
File Size: 15 MB

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According to the Jaina belief, and also in visual expression, Neminatha has been portrayed as victor in a trial of strength with Krishna, which was intended at establishing the superiority of Jainism. The second circular band of the Vimala Vasahi relief demonstrates the strength of Neminatha in the Ayudhasala [armory] of Krishna. In the scene, Krishna is shown sitting on a throne as Neminatha enters, and both are greeting each other with folded hands. Ahead is engraved the scene of trial between the two, wherein the outstretched hand of Krishna is shown bent to suggest Neminatha's victory over Krishna.
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Vimala Vasahi and Luna Vasahi [c. CE1150-1250] exhibit some very interesting renderings of Krishna lila and other Vaishnava themes including Kaliyadamana [Vimala Vasahi cell 33], [pl.4] Krishna playing Holi [sprinkling coloured water on each other] with Kanakshringakosha [as found in Harsha charita] with gopas and gopikas, the episode of Bali and Vamana, samudra-manthana and vivid carvings pertaining to Krishna's birth and his bala-lilas.18 The scene of Holi, carved on the ceiling of the bhramika [corridor] at the devakulika 41 of the Vimala Vasahi [c. CE 1150], is a singular such instance in plastic art. It becomes all the more important in view of its Jaina context on one hand, and its total absence from the plastic art at Brahmanical sites on the other hand. The ceiling accommodates nine figures of gopas and gopikas with Krishna, the later in the center playing Holi in a joyful mood, with two kanaka-shringa-koshas [cowhorn-shaped golden sprinklers] in his hands. [PI.5] Krishna is dressed in a small kirita-mukuta and a long flowing uttariya [pitambar]. All other figures are leaning towards Krishna in rhythmic postures. The Luna Vasahi [CE 1250] contains depictions of Krishna's birth [janma], under close vigil, his bala-lila and the killing of demons by him.
The second ceiling [no. 49] of Vimala Vasahi exhibits a remarkable figure of a 16 armed sthauna Narasimbha [man- lion incarnation of Vishnu] killing the demon Hiranyakashyapu. The entire representation is so effective and dynamic that it makes the work, undoubtedly, one of the best illustrations of Narasimbha in Indian Art.
Apart from these epical characters, several other deities were assimilated directly in Jaina worship with identical iconographic features. The concept and the names of such deities are found in the early Jaina works datable between c.3rd and 7th century CE, but their detailed iconographic features are enunciated mainly in the works assignable between c. 8th and 14th century CE. [PI.8] The list of such deities comprises Ganesha [Jaina devakulikas at Osian, Khandagiri cave, and Neminatha temple at Kumbharia, c. 11th - 12th century CE], Ksetrapala [Deogarh and Khajuraho], Lakshmi, Saraswati [Mathura, Deogarh, Khajuraho, Pallu, Vimal Vasahi, Lunavasahi, Kumbharia, Humcha Kushan, to 12th century CE]. Other than these examples, Ashta-dikpalas [sometimes their number being 10, including Nagaraja Dharanendra and Brahma], navagrahas, Ashtavasus [carved on the Jaina temples of Khajuraho], 64 yoginis [enunciated in the Acharadinakara of 1412], Indra and several other deities were also included. In concurrence with the Brahmanical tradition, the Ashtadikpalas and the Navagrahas are carved on almost all the Jaina temples. Navagrahas are carved on the pedestals of the Jina images also. Ganesha, as bestower of success, was incorporated in to the Jaina pantheon during the early medieval times. According to the Acharadinakara of Vardhamana Suri [CE 1412], Ganesha is even adored by the gods in order to fulfill their worldly desires. On the basis of the available instances, Ganesha is shown mounting a rat and carrying a lotus goad, tusk, axe, spear and modaka or modakpatra;" the bearing of Brahmanical Sarasvati, their proximity being ascertained by the presence of the vahana [swan or peacock], manuscripts, vina, rosary, water vessel, goad and noose. In one of the images carved in the ceiling of Vimala Vasahi [CE 1150], Sarasvati is joined by the figures of S tradhara Loyana and Kela, the chief architect and sculptures of the temple. Thus, Sarasvati is visualized here as the Goddess of fine arts as well.
A few Jaina deities who were borrowed from other cultures have some changes either in the names or iconographic features or both to suit the requirements of the Jaina creed. The Brahmashanti and Kaparddi Yakshas are the foremost among such deities who occupied an important position in the visual representations at Shvetambara Jaina temples in western India, namely, Dilvada and Kumbharia. They are identical to Brahma and Shiva. In some cases, the influence of Garuda, Kumara yakshas, Kali and Mahakali yakshis is also seen. The Shasana-devatas of Rishabhanatha, the first Jina, are Gomukha [bull face and parashu in hand] and Chakreshvari [riding a garuda and carrying
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