Ambika on Jaina Art and Literature

Author(s): Maruti Nandan Prasad Tiwari
Publisher: Bharatiya Gyanpith

Page 57

Ambikā in Art : Later Phase
(9th to 16th centuries A.D.) Gujarat, Rajasthan, Maharashtra
The linear development of the icons of Arnbikā took a new turn with the beginning of the ninth century A.D. The find-spot of her figures, both independent and Jina-samyukta, increased and covered almost the entire country. The most vigorous representation of Ambikā with variety and several innovatory features, sometimes even in the form of a cult deity, are met with during the ninth and the 12th century A.D. She is now shown both with two and four hands, although the former variety always remained a favoured one. In few instances, both in literature and art, she is conceived also as having more than four hands. The concept of atleast some sort of parivāra of Ambikā also developed during this period who is represented not only as the head of the 24 Säsana-devis in the instance of the Patian-dāi image but is also accompained by some minor goddesses, and above all, the Yakşa-Yakși figures in the images from Khajuraho, Deogarh, Singhpur, Ahār and Delvādā. Apparently, the images of Ambikā at Digambara Jaina sites reveal more variety and also the figures of Pārsva-devatās in parikara. Ambikā, as usual, rides a lion and a joined by her two sons, the younger one being in lap and the elder one standing close to her on right. The rendering of the branches of mango tree topped by
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