Jinamanjari 2001 09 No 24

SR No.: 524024
Original Sutra Author: N/A
Author: Jinamanjari
Publisher: Canada Bramhi Jain Society Publication
Publication Year: 2001
Total Pages: 80
Language: English
Classification: Magazine, Canada_Jinamanjari, & Canada
File Size: 5 MB

Page 18

important because they will help us identifying each particular Tirthankara.
In sculpture the Tirthankaras are generally shown in asana (sealed) or sthanaka what we call kayotsarga (standing posture). In the asana pose, the padmasana depicts the jnana or preaching of the Tirthankaras. In the kayotsarga pose (also known as khadganasa), the stretched hanging hands of the Tirthankara are carved in such a way as they do not touch the body. The yogic Tirthankaras standing in kayotsarga are idealized in the practical aspect of teaching the observance of penance to the devotees. The associated nuga or chatra depicts the divinity of the murtis. Depending on the purpose and the utility, the Jaina sculptures are divided as four varities, 1) Nama Jina (for general worship in any place), 2) Stapana Jina (made of gold, copper, stone, etc., and to be installed in temples), 3) Dravya Jinas, and 4) Bhava Jinas (samvasarana) such as those of Mahavira.
The important emblems or cognisance of the Tirthankaras are the lion, bull, elephant, horse, dear, buffalo, snake, makara, padma, nilotpala, conch, swastika, srivatsa, vajra, etc. The male and female attendants, yaksha and vakshini, are the sasana devatas who assisted the Tirthankaras to become the ideal beings. Gomukha, Mahayaksha, Trimukha, Brahma, Dharanidra, Matanga etc. are the vakshas, while the sasanadevis are Chakreswari, Ajitavala, Duritari, Kali, Manavi, Dharanidevi, Padmavati and Siddhayika. Similarly, the kevala tree where under which the Tirthankara were enlightened are also included: for Adinatha the nyagrodha (banyan tree), for Sitalanatha the bilva, and for Neminatha, Parsvanatha and Mahavira the mahavenu or vetasa, devana aru, and sala vruksha respectively. Also, some Hindu gods and goddesses are incorporated such as Brahma, Vigneswara, Saraswati, Kali and Padmavati. Besides the iconographical marks, the images of Tirthankaras also depict wide chest, half open eyes, elongated ears, and in some cases, kundalas. To differentiate the padmasana of the Jaina Tirthankaras from the Buddha in padmasana, the srivatsa symbol on the chest. These were probably introduced after the Gupta period (6th century C.E.), when the mudras and laksanas were introduced in iconography.
14