Jainism in South India and Some Jaina Epigraphs

SR No.: 011025
Original Sutra Author: N/A
Author: P B Desai
Publisher: Jain Sanskruti Samrakshak Sangh Solapur
Publication Year: 1957
Total Pages: 495
Language: English
Classification: Book_English
File Size: 33 MB

Page 87

3. JAINIAM IN TAMIL NAD They refer to the teachers, Ajjanandi, Indrasom wikisõnapperiyar and Pārsva Padara (i. e., Bhatāra). One of them mentions Puvranandikkuratti, the lady disciple of the lady preceptor Pațținikurattiyār of Perambattiyor. Another epigraph dated Saka 792 or a. D. 870, in the reign of the Pindya king Varaguna, states that Santiviraguravar, the papil of Guņavirakkuravadigat, renewed the images of Pārsva Padarar and of Yakshis at Tiraváyirai. Pārsva Padarar is equivalent of Pārsvanātha Tirthakara ( Padāra-Bhatāra) and Tiravāyirai was probably the ancient name of Aivarmatai.
PROMINENCE OF YAKSAI: We may once more note in the above inscri. ption of Aivarmalai the specific reference to the renewal of the images of Yakshis, which must have been evidently under worship as independent deities from earlier times. A careful examination of some of the sculptures in the Madura region described above shows that the Yakshiņīs have been given a preferential treatment by transferring them to the right hand side of the Jinas. This, as I have pointed out previously, furnishes further evidence in favour of prominence given to the subservient deity of the Jaina pantheon with a veiw to raise her to a higher status in the devotional plane of popular religion. The elevated position of the Yakshiņis in the sculptured panels at Anainalai and Settipođaru has already been described in detail.
Rock-OUT IMAGES WORSHIPPED: In the above survey of Jaina antiquities we have noted the existence of a large number of sculptures carved on the rocks of hills and natural careras. Now we have to see the purpose served by these images. The inscription engraved below the sculpture of a Jina at Kilalavu noticed above, expressly states that the person who was responsible for the creation of the image on the rock, also made provision for its daily worship and offerings. From this specific instance we may reasonably conclude that most of these rock-cut images were being duly worshipped not only by the monks and teachers residing in seclusion in the hills and.caverns, but also by the laity of means who made adequate arrangements for maintaining the routine of rituals for them.
A RENOWNED MONASPERY: A perusal of the inscriptions discovered in the region of Madura shows that there flourished in this area a renowned monastery known as Kurandi Tirukkāțțāmballi and more than one generation of reputed teachers who were its constituents. Ashtöpavāsi and his pupil Arishtanēmi, figuring in the record from Uttamapāļaiyan, seem to hate belonged to this monastery. This Ashtopavāsi may be identified with his namesake who figures with two successive generations of pupils in the record from Muttupatti. Māghanandi was another disciple of this Ashtopavāsi. Three generations of teachers, Guņasēna I, Vardiranina and Gunasõna II, who belonged to this monastery are known from the inscriptions