Nirgrantha-3

SR No.: 522703
Original Sutra Author: N/A
Author: M A Dhaky, Jitendra B Shah
Publisher: Shardaben Chimanbhai Educational Research Centre
Publication Year: 2002
Total Pages: 396
Language: English, Hindi, Gujarati
Classification: Magazine, India_Nirgrantha, & India
File Size: 11 MB

Page 103

78
Maruti Nandan....
Nirgrantha
(Buddhist and Hindu period), Bombay 1971 (Rep.), p. 135; and Krishna Deva, Temples of North India, New Delhi 1969, p. 31; M. A. Dhaky, 'Some Early Jaina Temples in Western India', Mahāvīra Jaina Vidyalaya Golden Jubilee Volume, Bombay 1968, pp. 312-26. However, L. K. Tripathi dates the Mahāvīra temple to the ninth century A. D. and believes that it was built during the reign of Mihirbhoja (A. D. 836-85). See L. K. Tripathi, Evolution of Temple Architecture in Northern India, unpublished Ph. D. thesis, Banaras Hindu University 1968. (But
stylistically the temple seems earlier.) 2. The northern devakulikās of east and west are numbered as 1 and 2, while the other two are
numbered as 3 on east and 4 on west. The devakulikā attached to the balanaka is number
5. For architectural details, consult Dhaky, "Some Early.," pp. 312-26. 3. For details consult, M. N. P. Tiwari, "Osiāñ se Prāpta Jivantasvämi ki-Aprakāśita Mürtiyāñ,"
(Hindi), Viśva Bhārati, Vol. 14, No. 3, Oct.-Dec. 1973, pp. 215-18; also, "Some Unpublished Jaina Sculptures of Ganesa from Western India," Jain Journal, Vol. IX, No. 3, January 1975, pp. 90-92; and Jaina Pratimă Vijñāna, (Hindi), Varanasi 1981, pp. 93, 132, 134. The figures of the 24 yaksis on the facade of the temple No. 12 (A. D. 862) at Deogarh are the earliest known examples of their collective rendering. The list of the 24 yaksis was available to the artists but their detailed iconography was not yet finalised; hence the artists have borrowed the iconographic features of some of the Mahāvidyās, earlier in antiquity than
the yakşīs. 5. The concept and iconography of the Mahāvidyās are older than those of the Yaksas and Yaksis,
also known as Sāsanadevatās, but the latter gained more prominence with the advance in time
because of their close direct association with the Jina conceived in pre-medieval times. 6. For details, consult U. P. Shah, "Iconography of Sixteen Jaina Mahavidyās," Journal of the
Indian Society of Oriental Art, Vol. XV, 1947, pp. 114-21. The final list of the 16 Mahavidyās supplied by the texts of both the sects, includes the following names : Rohini, Prajñapti, Vajraírňkhalā, Vajränkuśā, Apraticakrā or Cakreśvari (Svetāmbara) and Jāmbūnadä (Digambara), Naradattā or Puruşadattā, Kāli or Kālikā, Mahākāli, Gaurī, Gāndhārī, Sarvāstrā mahājvālā (svetāmbara) and Jvālāmālini (Digambara), Mānavi, Vairotyā (Svetāmbara) and Vairoți (Digambara), Acchuptā (svetāmbara) and Acyutā (Digambara), Mänasi and
Mahāmānasi. 7. The text, however, does not refer to Sarvāstrāmahājvālā separately and instead the features of
Mānasi and Sarvāstrāmahājvālā have been combined therein with one Mahāvidyā, called
Mānasi. Thus the text refers to the 15 Mahāvidyās in all. 8. The Nirvāņakalikā, the Manträdhirājakalpa (of Sāgaracandra Sūri, c. 15th century A. D.), the
Acāradinakara (of Vardhamāna Sūri, A. D. 1412), the Pratișthāsārasargraha (of Vasunandi, c. 12th century A. D.), the Pratisthāsāroddhāra (of Āsādhara, A. D. 1228), and the
Pratisthātilakam (of Nemicandra, A. D. 1543). 9. However, U. P. Shah, in his learned paper on the Jaina Mahāvidyās, has not included the
figures of the Mahāvidyās in Osian.
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