Jaina Bibliography Part 1

SR No.: 016035
Original Sutra Author: N/A
Author: A N Upadhye
Publisher: Veer Seva Mandir Trust
Publication Year: 1982
Total Pages: 1070
Language: English
Classification: Dictionary & Dictionary
File Size: 17 MB

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JAINA BIBLIOGRAPHY
Vol. XI; No. I; 1945; Arrah; Pp. 11-13.
Discussion continued. The eight pieces of the ladder between the two legs represent the eight karmic forces, described in Jainism. On the outer side of the left leg are fourteen triangular spots which suggest the fourteen principal stages in the process of spiritual evolution of a mundane soul towards perfection known as Gunasthāns. The Upper portion of the figure, formed by the two hands, above the head, in crescent like form, signifies the crescent shaped abode of the Siddhas that is the Siddhasila. The featureless head of the figure is suggestive of the featureless, bodiless nature of the liberated souls. The three triangular blocks represent the three virtues, the three gems of Jaina philosophy viz. Right faith, Right knowledge and Right conduct. In the Jain cosmology shape of the universe has been described to be similar in form to that of a human being, standing with both legs apart. It very significantly represents the fundamental Jaina conceptions. So, the pre-historic singanpur caves with their thosands of years old mystic paintings are strong additional evidences of the antiquity of Jainism.
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N. R. Roy. Maurya And Sunga Art, Calcutta, 1945.
P. 50. Two torso of naked Jaina images in the Patna Museum: The large torso, a free and round sculpture carved out of Chunar sand-stone, has the high Maurya polish on it, while the smaller one, identical in appearance and style and of the same has no polish. They have both been found on the same level under-ground along with a silver punch marked coin which Jayaswal says, 'precedes Maurya, coinage'. He ascribes the larger torso to the Maurya period and the unpolished smaller one to the "Sungan or later', on unstated grounds. If one is to go by style and appearance both the torso must belong to the same period which may not be far out of date from the Patna Yakshas on the one hand and the Parkham Yakshas on the other. In their tight and stiff modelling, in their fully rounded arras and thighs and in their general earthly heaviness of form they have a kinship with the Patna statues; both pairs are characterised by a smooth and lifeless inertia, and by a comparatively fiat surface treatment of their backs. These Lohampur statues, moreover, are more primitive and archaic in outlook and appearance, heavy and a little bit unbalanced in proportion, which seem to link them with Baroda and Parkham Yakshas.
P. 102. Fig. 28 : Lohanipur torso of a naked Jain Tirthankara. Circa. 50 B. C.---50 A, D. Description given.
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AGARWALLA, V. S. Gupta Art F.U.P.H.S.-Parts 1 & 2. Lucknow, 1945. P. 126 (n) Tarānāth refers to the Western school of Painting with Sarngadhara