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 233

Maruti Nandan Prasad Tiwari
the present figure and the following one would automatically represent Manasi and Mahamanası. In all the iconographic works Manası is said to have carried thunderbolts in upper pair of arms, and it may be the case that, by mistake, sulas have replaced thunderbolts. It may be noted that a goddess showing sulas in two upper arms was much popular In the Santinatha and other temples at Kumbharia, but nowhere her vahana bas been carved, thus leaving the problem of her identification as it is.
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(15) Malamunasi (?)-the 16th Vidyadevi. She betrays the vaadaksa, a long-stalked lotus, a long-stalked lotus and a fruit,30 As has already been mentioned, the figure does not conform the least to any of the known dhyanaş prescribed for Mahamanasi, which generally describe the latter with the varada, a sword, a pitcher and a shield (the Nirvanakalika p. 37). It may be noted that the goddess with long-stalked lotus in each of the two upper hands was represented in a number of sculptures in the Santinatha and other temples at Kumbharia and eleswhere but nowhere her vehicle is rendered. Hence the problem of her identification remains unsolved, The goddess with long-stalked lotus in the upper hands is generally identifiable either with Santidevi or with Nirvant (the 16th Yakşi). As the context here is precisely different, we are forced to identify her with Mahamanası,31
(16) Feirasṛnkhala-the 3rd Vidyadevi. She holds the varada-mudra, a chain sukhala) in two upper hands (passing from behind the neck) and a fruit, The figure corresponds to the description of the Nirvaṇakalıkā, except for showing a fruit against the lotus of the text. It is to be noted that all the four-armed figures of Vajraśnikhala throughout the subsequent ages have been depicted as carrying chainin two upper arms.
Foot-notes:
(1) The final list of the Sixteen Jaina Mahavidyas supplied by the later traditions of both the sects includes the following names:
(1) Rohini, (2) Prajñapti, (3) Vajrasṛnkhala, (4) Vajränhusa, (5) Cakreśvari or Apraticakra (Svet.) and Janibunada (Dig,), (6) Naradatta or Purusadattä, (7) Kāli Kālikā, (8) Mahāhāli, (9) Gauri, (10) Gandhati, (11) Sarvästra-mahājvālā or Jvälä (Svet.) & Jyklámahni (Dig.), (12) Manavi, (12) Vairotyä (Svet.) & Vairoți (Dig.), (14) Acchuptă (Svet) & Acyuta (Dig), (15) Manasi, (16) Mahāmānasi, (The present list is preparep from the huts occurring in the different iconographic texts ranging in date between eighth to the sixteenth centuries.)
(2) For detailed study consult, Shah, U P., 'Iconography of the Sixteen Jaina Mahavidyas' Jour. Indian Society of Oriental Art, Vol. XV, 1947, pp. 114-177.
(3) Ibid,, Shah writes, "As yet no sculpture or painting of a Digambar Mahavidya is brought to light...."
(4) The prolific Digambar Jaina site at Khajuraho was visited by the present author in pursuance of his research work. Hence, the reaults are based on his own studies of the Jaina iconic data at the site.