Shrutsagar 2016 04 Volume 02 11

SR No.: 525309
Original Sutra Author: N/A
Author: Hiren K Doshi
Publisher: Acharya Kailassagarsuri Gyanmandir Koba
Publication Year: 2016
Total Pages: 36
Language: Gujarati
Classification: Magazine, India_Shrutsagar, & India
File Size: 5 MB

Page 12

अप्रैल-२०१६
10
श्रुतसागर
to the shrine has a shallow portico with a pair of finely carved. The wall-space on either side of the door-opening has each a large standing Tirthankara and dvārapala like figures. Further beyond on the east face of wall is a large panel of Pārsvanātha (showing upsargas - inflictions caused by Kamatha or Sambara during the course of tapas of Pārsvanatha - Pārśvābhyudaya of Jinasena of early 9th century CE) and on the western extension is a panel of Bahubali [with entwining creepers (called in Adipurāņa as sarvāngasanginī -36.183) with figures of two Vidyadharis removing the creepers as per Digambara texts (Adipurāņa -36.171 and Harivamśapurāṇa-11.101)]. Both Pārsvanatha and Bahubali stand in kayotsarga-mudrā as skyclad which reflect the ascetism and Śānta-rasa, the core spirit of Jainism. Aesthetically the figure of Bahubali with spiritual beauty and the slender figures of tenderly modelled flanking Vidyadharīs are superb.
The ceilings and beams of the mandapa are painted. Most of the paintings are obliterated but two important paintings of Indra as dancing deity and Bahubalī, standing in kayotsarga in trance with entwining creepers, are most important of all the paintings.
The seated Pārsvanatha figure in cave 32 is shown with the coils of the serpent forming a back seat and the seven hoods gracefully and reverently spread as a canopy over the head of the Jina whose uṣṇīṣa is very prominent and his eyes are closed in subime meditation and peace, while attendant figures on either side wave flywhisks. The sublimity of the Jina is expounded by peaceful monks shown in a rectangular panel down below. The whole carving reveals the picture of peace with profundity of noblest thought in meditation indicated by the dhyāna-mudrā.
In the same cave (no. 32) the treatment of individual themes like Kamathas (Šambara) inflictions (upasargas) on 1. Maruti Nandan Pd. Tiwari, “Images of Bahubali in Ellora", Ellora Caves: Sculpture and Architecture (Seminar Proceedings), Ratan Parimoo and others (Editors), op.cit., pp. 335-46.
2. C. Sivaramamurti, Panorama of Jaina Art - South India, New Delhi, 1983 - Relevant chapters.