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D. N. SHUKLA
The second stage of Jaina iconography is illustrated in the varieties of the Jinas of the Kuşāņa school which may be said to be of three types, first in which the Jina figure form a part of a sculptured panel; second in which figures are represented as
worship and third show figures in the middle of Ayāgapatas. In these the image-type of Jinas have some noticeable perticuliarities such as seated figures have no attendants on sides but have a devotional scene on the pedestal; standing figures are nude and are attended by two Gandharvas. Dharma-cakra symbol in its simple representation is also found on the Kuşāņa images.
The Gupta period shows a marked development in the iconographic characteristics of a Jina figure. Not only do we see in such images, the particular Lāñchanas incorporated but miniature figures of a Yaksa and a Sāsanadevatā invariably included. Other marks such as a trillinear umbrella, a drumplayer surmounting it, a pair of elephants on two sides of the umbrella and a Dharma Cakra symbol attended by a pair of either bulls or deer form parts of a Jina sculpture. “In no sculpture of Kuşāņa age hailing from Mathura, the Tírthankara figure is seen attended by either a Yakşa or a Yakṣiṇī, but in the Gupta, onwards, it was a stereotyped canon with the sculptors.” Jaina Quadruple:
In place of Hindu Trinity the Jainas have also a remarkable representation in art. It is popularly known as 'Caumukhi and has a further name of Sarvatobhadra-Pratimā. The most important of the Tīrthařkaras are represented here on the four sides with their characteristic symbols.
Yaksas and Yaksiņis:
Yakşas as a class of demi-gods had existed in popular belief and in literary traditions of the Hindus much earlier than the rise of Jainism. Hence their association with Jaina images is an interesting characteristics not only of the Jaina Pantheon but also
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