Jain Yug 1958

SR No.: 536282
Original Sutra Author: N/A
Author: Sohanlal M Kothari, Jayantilal R Shah
Publisher: Jain Shwetambar Conference
Publication Year: 1958
Total Pages: 82
Language: Gujarati
Classification: Magazine, India_Jain Yug, & India
File Size: 8 MB

Page 37

જૈન યુગ
નવેમ્બર ૧૯૫૮
murtis at Büdhi Chanderi (northern temple in the dharmashala compound). The centre of our pedestal is occupied by the familiar dharmacakra which is flanked by two worshippers. The "carpet" hanging down from below the Jina's cushion shows a peculiar design: the kirtimukha? which appears often on this "carpet" is framed by two fabulous animals (called vyāla or śārdüla); above them we notice warriors who are fighting these monsters. These vyālas and warriors are fairly similar to those which form a frieze on the inner doorframe (dated sam 1051) of temple No. 12 at Deogarh.
The hair-dress of the Jina is also remarkable : gracefully pleated jațās terminate in curved ends which continue as it were in the curls covering the head immediately above the forehead. Besides, a brooch is fastened in the hair right above the centre of the forehead-a feature which is probably unique in Digambara iconography.
The remaining elements of the parikara' are too common to require any comment. They consist in a cushion, a halo (bhāmandala), elephants and makara-heads10 to the left and right of the head, a triple parasol crowned by an āmalakall, and celestial couples and elephants on either side of the parasol. The drummer above the parasol (his drum is broken) has four arms, not two as is
usual. He resembles the four-armed bracket figures which appear on the capitals of pillars and which are sometimes represented as musicians. The vertical slabs to the left and right of the central slab are partly or completely gone and we cannot make out their original appearance.
The two standing Jinas are placed on socles with reliefs of Gomukha Yakşa (to the left) and Cakreśvari Yakși (to the right) respectively. Besides, we notice to the right of Gomukha a figure under a creeper (a motif which is frequently found on lower door-jambs), and to the left of Cakreśvari a mutilated standing figure which we cannot explain. Both figures are somewhat unusual in this context.-Each of the standing Jinas is accompanied by two types of attending figures, not by a single pair as usual. The inner attendants are small in size, the outer ones are much bigger and slightly projected ; due to the asymmetry of the images these are found on one side only. The bigger attendants stand on elephants which appear on the same level as the lions (normally, the elephants which carry attendant figures are arranged on a higher level than the lions).-In the case of the right image at least we can recognize three heads of makaras and similar monsters: one above the big attendant figure, one in the angle between the snake-hoods and the shoulder, and one in the angle between the snake-hoods and the celestial above them. Normally we get either a single makara-head or three different animals (two heads and a complete figure between them). The remaining elements do not show any exceptional features.
The two standing images differ only slightly from each other (see for example the elephants at the bottom).
7. The mask of the face of a fabulous monster, one of the most common decorative motifs in Indian art.
8. For the combination of jata and curls refer to my forthcoming paper on "Distinction in Indian Iconography" (Deccan College Bulletin 1959-60).
9. In Jain iconography those elements of the composition which surround the main figure.
10. The makara is a fabulous animal, in its earlier iconographic form a crocodile.
11. The flat member at the summit of the śikhara.