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FURTHER OBSERVATIONS ON THE ICONOGRAPHY...
(iii) The image shows, in addition to Dharanendra and other naga motifs, elements which are merely connected with nāga iconography.
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(iv) The image shows, in addition to Dharanendra etc., elements which are not even connected with naga iconography.
(v) The image shows irregularities vis-à-vis the rules of Parsva iconography. E.g. compare Deogarh Fig. 260: Parsva without hood-circle, but flanked by two theriomorphous nägas.
(vi) The image shows irregularities vis-à-vis the rules of Jina iconography in general. E.g. compare Deogarh § 233: rock-cut image showing Parsva seated and holding a book in his hands.
It is necessary to add a few words on the difference between division (iii) and division (iv). The "Rsi" to be discussed in the following Section clearly belongs to (iv), whereas the single jar or kalasa appearing in rare cases below Parsva is a naga motif and must be classified as (iii)1. The female parasol-bearer with a snake-hood (Deogarh § 78), on the other hand, cannot easily be classified. The figure reprsents Dharanendra's wife as mentioned in the Parsva legend. Female parasol-bearers with and without snake-hoods are, however, very common in Indian iconography, and in relation to this context it would be difficult to spot the exact source. Thus we arrive at the typical situation of rivalling explanations: a matter-of-fact explanation on the basis of literature and a zigzag line of associations on the basis of art (also compare Deogarh § 262).
For practical reasons it was necessary in the above discussion to ignore the little-known iconography of Supārśva (the seventh
1.
Compare U. P. SHAH, Studies in Jaina Art (Banaras 1955), Fig. 38 (image from Bankura) with the relevant examples from the iconography of the Hindu goddess Manasa. E.g. R. D. BANERJI, Eastern Indian School of Mediaeval Sculpture, Pl. 64 b-d.
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