Jain Journal 1993 01

SR No.: 520109
Original Sutra Author: N/A
Author: Jain Bhawan Publication
Publisher: Jain Bhawan Publication
Publication Year: 1993
Total Pages: 57
Language: English
Classification: Magazine, India_Jain Journal, & India
File Size: 4 MB

Page 51

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JAIN JOURNAL
The chariot of Moon is followed by Airavata of Indra. Of his seven trunks the lower one holds a round object, probably a sweet-ball and a spray of flowers for worship of Tirthankara. The elephant is fully decorated with rich coverings, trappings and bells. The modelling of elephant is forceful. The majesty of this celestial animal is fully captured by the artist in this figure.
The mahout (elephant driver) of the elephant is shown holding goad. He is wearing a long jāmā and a turban. At his back, seated in hawdā (seat on elephant) are two figures. One appears to be some important person, probably God Indra. In absence of any other cognisance, it is very difficult to identify this figure. However, the study of other similar panels in wood and stone wherein procession of Gods is shown and descriptions in Jain literature of such processions give graphic account of Gods going for paying homage to Tirthařkara in their respective
icles. In such panels, Indra is invariably shown seated on seven trunked elephant Airāvata. In this case also, the main figure appears to be that of God Indra,
The figure in the rear is an attendant seated with right hand raised, a gesture suggestive of holding caurie.
The design on the broad rectangular frame of this frieze is more interesting than the previous two friezes. It is more intricate and delicate. The creeper design is executed extremely well which shows the mastery of the wood carver over his medium.
A round wooden corn-cob shaped flower (mogari) fixed on the left top of this panel suggests that similar mogaris were there on either end of each panel which are now no more there but the deep incisions for fixing them are distinctly seen on all the three panels.
As seen earlier these panels belong to a hexagonal gallery overlooking a congregation hall (sabhamandapa). This hall is very important part of the Jain derāsara. Here devotees gather to hear discourses of the Jain Ācāryas. The sermons delivered by the Acāryas are invariably full of anecdotes from the life of Tirthankara. These anecdotes are illustrated in the panels of architraves, kakşāsanas and ceilings of the sabhūmandapa so that the devotees can see the incidents from the life of Tirthařkaras while listening to the discourses. Such illustrations either in carvings or in paintings work as visual-aid and create great