Jain Darshan aur Sanskruti Parishad

SR No.: 010092
Original Sutra Author: N/A
Author: Mohanlal Banthia
Publisher: Mohanlal Banthiya
Publication Year: 1964
Total Pages: 263
Language: Hindi
Classification: Book_Devnagari
File Size: 9 MB

Page 218

Antiquity And Origin Of Jain
Iconography Dr. L. M. Joshi, M.A., Ph. D., University of
Gorakhpur, U. P.
Not sufficient work has been done in modern times in the domain of the study of Jain Art and Iconography. Al though, much good literature has been published on the history, literature, philosophy and the moral culture of Jainism, in India and abroad, yet it appears that, the learned world has yet to realise the great antiquity and originality of Jainism. The object of the following few pages is to discuss the possible or, perhaps, probable, protohistoric origin of some basic elements of Jain sculpture and Iconography of historic times. Quite recently, Professor Dr. Hiralal Jain has drawn our attention to the similarities between the figures of "ascetics" or men in “meditative attitude” found in some seals of Mohenjodaro, and the sculpture in Padmasana and a nude male torso of Lohanipur, supposed to represent a Jina. He also notes the famous seal of Mohenjodaro which Sir John Marshall described as a “prototype of historic Śiva", and compares it with the image of Pasupatinath. It may be noted that as early as 1932, Sir R, P. Chanda had also noticed this similarity. But a detailed study of this important problem has yet to be attempted,
As is well known, the Jain tradition claims the existence of 24 Jinas ("'Victors') or Tirthankaras (lit. "Ford Makers); the historicity of 23rd Jina, Lord Parsvanath, the immediate predecessor of Lord Mabavira, has been eminently establish1. Hiratal Jain, Bhartiya Sanskriti Main Jain Dharma Ka
Yogadaca, Bhopal, 1962, pp. 342-343. 2. Vide: Modern Review, Angust, 1932, cf. R.K. Mookerji,
Hindu Civilization, Part 1, Bombay, 1957, pp. 24-25. .