Jaina Monuments Of Orissa

SR No.: 022826
Original Sutra Author: N/A
Author: R P Mohapatra
Publisher: D K Publications
Publication Year: 1984
Total Pages: 384
Language: English
Classification: Book_English
File Size: 20 MB

Page 96

Jaina Monuments of Orissa
The Parávanatha figure of this place is carved seated in yogasana on a lotus pedestal. A canopy of seven hooded snake is noticed above the head. Hairs on the head of the Tirthankara are arranged in curled knots with a uşnisa at the centre. The chauri bearers are standing on either sides. Due to continuous exposure to weathering conditions and soft quality of the stone the image seems to be badly affected. It is extensively covered with moss and lichen. Coils of the snake are gathered behind the figure. The elongated ears and trivali on the neck add royal grace and vigour to the Tirthankara. It measures 1.30m x 0.70mx 0.27m in all.
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A small figure of a Jaina Tirthankara was recovered from village Bhainchua of the Prachi Valley by K.N. Mohapatra, former Superintendent of Archaeology, Orissa. Except the standing posture in Kayotsarga, we do not notice any other conventional attribute with this image. It was probably installed in the village in the past in a small temple, the foundation of which could also be noticed by him during the visit.
Several Jaina metal sculptures have come from Kakatpur near Konark, in Puri District. Some of them have been acquired by the Indian Museum, Calcutta and a few by Asutosh Museum of Indian Art. Besides, two of them found their way to the Orissa State Museum and one is still available in the residence of late Narayana Tripathy of village Tulasipur near Chaurasi. The figures, the majority of which represent different Tirthankaras, are of stereotyped order. Mention may be made here of the image of Chandraprabha now in the collection of Asutosh Museum. The Jina stands in Kayotsarga pose on a lotus supported by a square pedestal which bears his emblem, the crescent moon. The inert modelling of the body and heavy drowsiness of the face are symptomatic of the ultimate desiccation of the plastic art. Hairs on the head of the Tirthankara are arranged in curled knots with Unifa at the centre. Both the hands touch the knee region. It is badly affected in the hands, legs, face and abdomen.
The two metal idols of Tirthankara Rṣabhantha and Parsvanatha of Kakatpur preserved in the Orissa State Museum were donated by one G.P. Ray, an Engineer attached to Puri district. The figure of Rsabhanatha (Fig. 55) of this place (Acc. No. 451) is carved standing in Kayetsarga pose on a double petalled lotus supported by a square pedestal with legs. In front of the square pedestal is lying a bull, the lañchana of the Tirthankara. A kneeling devotee in folded hands is found carved in front of the bull. Hairs on the head of Rṣabhanatha are arranged in matted locks, a few rolls of which seen falling on both the shoulders. Trivali is prominently noticed on the neck. Both the hands of the Tirthankara are stretched up to the knee. This image of Rṣabhanatha is an example of fine workmanship, with a beautiful jatäbhara, a serene expression of the face and graceful outline of the body. It bears an inscription, recording that it was the gift of one Srikara. The entire figure including the pedestal measures 0.39m×0.11 m.
The Parsvanatha image (Fig. 56) of Kakatapur in the Orissa State Museum (No. 508) is carved seated in yogasana on a double petalled lotus pedestal. A canopy of
12. A. Ghosh, Jaina art and Architecture, (Ed.) Vol. II, Pl. 162B.