Sambodhi 1973 Vol 02

SR No.: 520752
Original Sutra Author: N/A
Author: Dalsukh Malvania, H C Bhayani
Publisher: L D Indology Ahmedabad
Publication Year: 1973
Total Pages: 417
Language: English, Sanskrit, Prakrit, Gujarati
Classification: Magazine, India_Sambodhi, & India
File Size: 14 MB

Page 20

14
Maruti Nandan Prasad Tiwari
occurrence on the door sills, pillars, ceilings and the walls of all the Jeina toples at the site. However, this has not been the case with the Jina images of Central India, especially froin Madhya Pradesh and Uttar Pradesh. It is also surprising that the artists generally o.nitting the representation of the respective coguzances of the Jinas preferred, 1051ead, to mention the maine of the Jinay in the throne inscriptions. The representations of the two elephants, a four-armed goddess (carrying either loruses or lotus and manuscript in two upper hands and representing possibly Sättide) in the centre and two deer, flankiny dod facing the dharmacukru, on the throne of the Jina iniages are also the features confined only tụ the Jina images from Western ladia. In the list of other Yakşa and rahşi ligures, finding independent place in the Jaina teinples of Kuinbharia, mention may be made of Gomukha, Brahinašauti and Dheranendra raksas; and Ctkreśvari, Nirvani and Padınavatı Taksis. In the list of the sixteen Jaina Mahavid yäs only some were accorded the most favoured position; they are Rohini, Cakreśvari, Vajränkuśä, Vajcasinkhalā, Mahakali, Acchupta, Varotyā, Mahāwānasi and Sarvästra. Mabajvalā, Sarasvast and Lakşmi (specially Gajalaksini) are among the other popular Jaina goddesses who have cnormuusly been carved in the Kumbbaria temples, Besides the goddesses, the Asta-dikpals, Ganesa, and the mothers and the parent of twenty-four Jinas were also given due iniportance in these temples Of even more significance for the study of the Jina iconography is the representation of narratives from the lives of the different Jinas at Kumbharia, also occurring at other places in Western lodia, which, of course, are rarely met with in the contemporary Jaina temples of Central India and other regions (See Fig. IV, V)
Regarding iconography of all the divinties, other than those clajming artists' innovations, it may be said, in conclusion, that the vāhana and the distinguishing symbols, peculiar to a particular deity, are shown in conformity with the S'vetambara works.