Nirgrantha-2

SR No.: 522702
Original Sutra Author: N/A
Author: M A Dhaky, Jitendra B Shah
Publisher: Shardaben Chimanbhai Educational Research Centre
Publication Year: 1996
Total Pages: 326
Language: English, Hindi, Gujarati
Classification: Magazine, India_Nirgrantha, & India
File Size: 14 MB

Page 137

Doris Chatham
Nirgrantha
the king who made this city named Śri-Mänyakheta, which surpasses the city of Indra, this lake, a palace of great workmanship, (and) a harem. I.A., XII, p. 268. Inscriptions of his own time speak of his coverage the whole surface of the earth "with his thousands
of courtesans......" I.A., XII, pp. 219-220; E.I., VI, p. 106. 10. Cf. Fleet, "Dynasties of the Kanarese Districts of the Bombay Presidency," B. G. Vol. I,
part ii., Bombay 1896. 11. R. G. Bhandarkar, "Early History of the Dekkan," B. G. Vol. I, part ii, p. 201. He is
also given credit, in a number of places, for being the author of the earliest
Kanarese work on poetics, the Kavirajamärga. 12. Epigraphia Indica, Vol. XVIII, pp. 235 ff. In that grant, also, we are told that he cut
off a finger and presented it to Mahā-lakṣmi to prevent a calamity to his people. 13. The History and Culture of Indian People, Vol. IV, The Age of Imperial Kanauj, pp. 288
289, and A.S. Altekar, Rashtrakūtas and Their Times, Oriental Book Agency, second
revised edition, Poona 1967, p.272. 14. See for example his discussion of the development of Cave 4, Ajantā, in the article,
"Ajantā and Ghatotkacha: A Preliminary Analysis," Ars Orientalis, Vol. VI, 1966, p.151. 15. In the conclusions to my dissertation, I have estimated that the Lankeśvara Cave was
excavated c. A. D. 770-772, while only the plinth of the Kailāsa temple remained to be
completed. 16. "J-20" on the plan of the Indra Sabhä upper storey, p. 112 in Pereira, Monolithic Jina. 17. This also occurs in Cave J-25, in a facing figure that appears to be by the same artist. 18. See Pereira, p. 39 : "Of the Tirthankara and Arhat, the former-either because of the
sculptors' obsession with this theme, or their inertia or poverty of ideas-is overwhelmingly the main subject of Jina sculpture....".
The implication here that the ideas of the sculptors, or their "obsessions," determine the subjects they depict also stems from a misunderstanding of the role of the
craftsman in religious art of the periods with which we deal. 19. James Burgess, Report on the Ellora Cave Temples and the Brahmanical and Jaina
Caves in Western India, Archaeological Survey of Western India, V, 1883, Reprint, Varanasi 1970, p. 44.
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