Mahavira and his Teaching

SR No.: 008019
Original Sutra Author: N/A
Author: C C Shah, Rishabhdas Ranka, Dalsukh Malvania
Publisher: Bhagwan Mahavir 2500th Nirvan Mahotsava Samiti
Publication Year: 1977
Total Pages: 509
Language: English
Classification: Book_English, Biography, Religion, & Principle
File Size: 12 MB

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MAHĀVIRA ICON AND INDIAN ARCHAEOLOGY
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From the beginning of the Christian era Mathura produced a large number of Jaina icons mostly digambara in form. The excavations of Kankālī Tilā has brought to light numerous Mahāvīra images as if it was a emporium of northern India. The icons are in Kā yotsarga posture, huge and massive like yakşa figures. Archaeologists are of opinion that it was due to the influence of Mālwā tradition that Vardhamāna images are of voluminous size. Due to the established Jaina tradition the artists prepared the naked icons of Mahāvīra during Kuşāņa period. It is a strange phenomina that the epigraphs after 78 A.D. and from the time of later Kuşāņa kings, afford sufficient proof that the Svetāmbara Community was not only established but had subdivided into smaller sects (Cambridge History, Vol. I, p. 167). The inscriptional and artistic evidences do not express harmony in the two sects of Jaina Community rather a divergent attitude during 1st century A.D. (Kuşāņa age).
The condition in South India during early century of Christian era was very promising and Karnataka and Mysore were the strong holds of Digambara Jainas. This sect has firm footing in Tamil Country and worship of Mahāvira was performed with great pomp and lamp, garland and perfumed ojects were offered to the deity (Mahāvīra). The literary evidences support the contention that South Indian rulers viz. the Gangas and the Kadambas patronised the Digambara sect. Archaeology does not help to an appreciable extent regarding the Devayātrā organised in South India for carrying Mahāvīra image in procession. The socio-religious thoughts are also an indication of the popularity of the sects and during the Gupta period we find Digambara and Svetāmbara branches of Jaina church had important contributions to the growth of Jaina literature. Side by side the Jaina artists introduced new features in Jain iconography and images were installed at the places associated with the life of the Tirthankara. The governing idea of an icon was to remind the devotees the condition through which Tirthankar passed to attain Kaivalya and that encouraged them to follow the ideal path in life.