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ORIGIN AND DEVELOPMENT OF TIRTHANKARA IMAGES Mathura sculptures described above, and but for the Neminātha the prince, 24 but Shah2 takes it to Cakra - images of Ādinātha and Pārsvanātha, which show purusa which is a popular representation in the Gupta locks of hair on the shoulder and a seven-hooded cobra period. There is a padmāsana Jina in dhyānamudra canopy overhead respectively, none can be identified on either side of Cakra-puruşa. As is well evident with an amount of certainty. The recognising symbols from the representation of Sankha, the lāñchana of were still to come into vogue. In one specimen, Neminātha, there is not the least doubt about the however, is represented a crescent on top of the identification of the image. parikara, for which one may mistake it to be the Another piece datable to the Gupta period hails cognizance of the 8th Tīrthankara, Candraprabha. But from Varanasi and is now preserved in the state as the locks of hair on the shoulder apparently Museum, Lucknow.26 This is an image of Ajitanātha indicate, it cannot be identified with other than , 2nd Tirthankara, standing in the käyotsargamudrā Rşabhanātha. Some sculptures also retain the śrivatsa with his elephant-vāhana. Among the images without sign. These images from Chausa are mostly dated to cognizances only those of Rsabha and Pārsva, which th 3rd 4th centuries A.D.
bear the usual signs, can be identified. One such image With the advent of the Guptas there had been of Rşabhadeva is preserved in the Baroda Museum,27 a tremendous change in every field. Texts on and another in the Prince of Wales Museum, iconometry were written images began to be made Bombay.28 according to the rules and regulations prescribed by After the Gupta period the sculptor strictly the texts on iconography. From this period onward followed the iconographic texts, as the Jina images we discern a marked development in the iconographic of this period were fashioned not only with their features of Tirtharikara images. Now they reveal the respective cognizances but also with their different recognising symbols, with the help of which śāsanadevatās. The images with śāsanadevatās began we can differentiate the Jina images from one another, to be made probably from the 7th-8th centuries A.D. though images without cognizances are not altogether Such images may be seen in the caves of Badami and wanting
Aihole, in the museums at Lucknow etc. and in the About the distinguishing features of Jina early medieval temples of the India. images Varāhamihira speaks in his Brhatsmhitā that a Tírthankara should be represented as having long References hanging arms, the śrivatsa symbol, a peaceful 1. Risabhachandra, K., 'Jaindharma kā Prasāra' in appearences, youthful body as being nude.22 Although Hindi),Shri Mahavira Jaina Vidyalaya Golden the author does not say anything about the lāñchana, Jubilee Vol., pt. I, Bombay, 1968, pp. 9-10. there are specimen of this period exhibiting the 2. Jain, H., The Culural Heritage of India, vol I., lāñchanas.
edited by S.K. Chatterji, 2nd edition, Calcutta, From the Vaibhar hill, Rajgir (Bihar), hails a 1958, p. 400. seated image of Neminātha, the 22nd Jina with a 3. Risabhachandra, K., op. cit., p. 10; Jain K.P., fragmentary inscription, in the Gupta characters, Jaina Antiquary, vol. XIV, No. 1, Arrah, 1948, referring to Candragupta of the Gupta dynasty23 This pp.1-7. is the earliest example known so far with precise date 4. Jacobi, H. Encyclopaedia of Religion and ethics, and showing cognizance of the Tīrthankara. The vol. VII, edited by James Hastings, New York, figure shows on the pedestal two sankhas with a 1914, p.466; Ghatage, A.M., The Age of Imperial dharmacakara in between. The dharmacakra is very Unity, edited by R.C. Majumdar, Bombay, 1951, interesting because it shows a young prince standing pp. 411-13. in the centre of the wheel, which also serves the 5. Wheeler, M., The Indus Civilization, purpose of his aureole. Some identify it with supplementary vol. to the Cambridge History of
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