Jain Journal 1969 04

SR No.: 520014
Original Sutra Author: N/A
Author: Jain Bhawan Publication
Publisher: Jain Bhawan Publication
Publication Year: 1969
Total Pages: 123
Language: English
Classification: Magazine, India_Jain Journal, & India
File Size: 6 MB

Page 82

APRIL, 1969
187
A special feature of the second Jaina stupa is the discovery of numerous inscriptions dated in Kusana era which give a detailed picture of the Jaina samgha that is confirmed by the Kalpa Sūtra of Bhadrabahu which points to the authentic nature of the Jaina accounts.
Āyāgapațas or Tablets of Homage—The word āyāga is from Sanskirt aryaka, meaning worshipful. The slabs were installed round the stūpa to receive offerings and worship. Ayāgapața No. J 555 (Smith, Jaina stupa, pl. XX) actually illustrates their position round the stupa where worshippers are offering flowers heaped on these platforms. Sixteen of them were installed round a stūpa four in each direction as can be gathered from the Mathura figure. There are references to puhumi šīlā patta in early Jaina Āgamas (Aupapātika Sutra, 5) indicating that originally such slabs for worshipping the deity were made of clay. The Jaina āyāgapatas are things of joy and beauty with perfect workmanship. They illustrate the continuity of symbol worship amongst the Jainas and also the introduction of image worship as combined with the symbols.
The strong belief in the significance of symbol and powerful influence which the symbols exercised on religious worship are made manifest on these āyāgapațas as nowhere else. They belong to transitional period when symbols were as much meaningful as the Tirthankara image and the two were equally balanced in harmony with each other.
The first place may be given to a slab (J 248, Smith, pl. VII-VIII) which is based entirely on the conception of symbols. It is a cakrapatta showing a sixteen spoke cakra in the centre surrounded by three bands; the first one showing sixteen triratna symbols, second one eight maidens of space (astadikkumārikā) floating in the air and offering garlands, and lotuses and the third showing a coiled heavy garland, and in the four corners supported by atlantes figures of triratnas round a square forming in which on the four sides were shown four religious symbols like srivatsa, triratna, etc. each worshipped by a pair of human figures, male and female having wings and hind parts of lions.
The next stage is shown by another āyāgapața known as svastikapatta (pkt. sotthiyapatta) so called owing to the presence of a conspicuous svastika motif disposed round the figure of a seated Tirthankara under a chatra in the central medallion encircled by four triratna symbols. Inside the four arms of the svastika again are auspicious symbols, viz., mina-mithuna (pair of fish), vaijayanti (triangle-headed standards), svastika and śrīvatsa. In the outer circular band are depicted four