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in close stylised curls. Only Rsabha, the first Indra, god of the heavens, to serve the Jina: they venerated in Jain rituals. The siddha, the liberated Tirthankara, is shown with pendent locks of hair: are sometimes explained as originating from the soul, has form but no material substance and is in an account of his renunciation he is said to have principal male and female disciples of the depicted as a blank outline or sometimes as an desisted from pulling out the last locks of hair on Tirthankara. Each Yaksa and Yaksini has his or her empty cut-out shape in a metal sheet. The the intervention of a follower
distinctive characteristics and emblems held in Digambara especially, but also the Svetambara, two or more hands.
pay great honour to Bahubali, the son of Rsabha The nineteenth Tirthankara, Mallinatha, is belie.
who was the first Tirthankara. It is believed that ved Ithough not by the Digambara) to have been a Many other divine beings are depicted in the Jain Bahubali was the first individual to achieve total woman but this is rarely indicted in sculpture. temple but they are, of course, regarded as liberation in the present cycle of time. Although Indeed the conventional representations of the subsidiary to the Tirthankara. The outer wall of a this is not universally accepted, his noble sancity twenty-four Tirthankara may usually only be temple may be adorned with the figures of the
ensures the respect of all Jains. He is shown, most distinguished by the accessory emblems and Dikpala, lords of the directions, east, south-east,
notably in the great monolithic statue at Sravana figures. Parsva, the twenty-third Tirthankara, has a south and so on, the last two governing the upper
Belgola, as standing in such deep meditation that canopy of seven hooded snakes, an allusion to the and lower regions respectively. The nine planets
plants are growing over his limbs unheeded. account of his having saved a snake from fire. As are given iconographic form and are usually the immediate predecessor of Mahavira, though depicted as a group, often over the entrance door of The images of a Jain temple are rich, varied and some two and a half centuries earlier, Parsva is a Jain temple. They receive respect in certain Jain beautiful. However the simple figure of the one of the most commonly represented Tirthan- rituals. Particular regard is paid by the Jains to two Tirthankara is the prime focus of Jain worship. In kara in Jain iconography. However, images of the Indian goddesses, Sarasvati, or Sruta-devi, the spite of the austere simplicity of basic Jainism the seventh Tirthankara, Suparsva, also show a goddess of learning, and Laksmi, or Sri, the worshipper's respect can wander nevertheless canopy of snakes (leading sometimes to wrong goddess of wealth. Jains have always placed freely across the regions of the gods. But central to identification of ancient images). Suparsva's emphasis on learning and Sarasvati is honoured the worshipper's faith is the Jina, as an example to canopy has, however, one, five or nine snakes, not on certain days with special devotions and fasting. be followed, not as a donor of gifts or a judge of the seven which is the (almost) invariable She is depicted by the Svetambara riding on a merit and demerit, still less as the awesome bearer number shading the head of Parsva.
swan, the Digambara show a peacock. It may seem of divine retribution. In the final resort the
at first a little incongruous that a religion of individual has no external gods to grant him or her Clear identification of each several Tirthankara is austerity should honour the Indian goddess of salvation but must strive onward by individual provided by the distinctive emblem on the pedestal wealth. As a largely mercantile community the There are a few variants in these in one or two Jain laity have seen nothing improper in riches it cases the Svetambara and Digambara traditions properly applied and honestly acquired. Indeed the differ. The bull of Rsabha, the deer of Shantinath. Jain temples and charitable foundations show the Parsva's snake (appropriately) and Mahavir's lion, proper application of wealth. Laksmi is especially to give a few examples only, are accepted in both revered at Divali, the festival of Mahavira's traditions. (The full list is conveniently available in nirvana. She appears as the fourth of the fourteen Marett, Jainism Explained, page 84).
dreams of Mahavira's mother. The Kalpa Sutra has
a beautiful description of her as she appeared in The Jina image will probably be placed in more or
the dream, seated on a lotus. The lotus is a less elaborate setting or shrine. It may be seated on
particular emblem of Laksmi. a stylised lotus, supported by lions, escorted by elephants, protected by a carved triple umbrella. Often depicted in Jain art and sculpture are the the Dharmacakra, wheel of the law, flanked by two Panca Paramesthin, the five specially revered bulls or two deer, is often shown. Worshippers, beings, the liberated soul, the enlightened soul, musicians and attendants, depicted smaller than the religious teacher, the religious leader and the the main image, throng around. Each Jina may monk. They are commonly depicted as five seated have his attendant Yaksa and Yaksini, male and figures in a group, as on the siddhacakra, a lotusfamale demi-gods, on either side, appointed by shaped disc or other representation which is
