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268
A CULTURAL STUDY OF THE NISITHA CURNI
Jivantasvāms image have been narrated in the various Jaina texts like Avašyaka Carni, Vasudevahindi and Kumarapalacarita.1 The existence of this tradition known only from literature can be supported by the find of bronze image of Jívantasvāmi from Akota, with an inscription on its pedestal in characters of circa 550 A. D. expressly calling it an image af Jívantasvāmi. Another bronze image of the same iconographic type, more beautiful and older, but with its pedestal lost, has also been found in the same hoard. 2
The images of Brahma, Vişnu, Rudra and all other gods or the gaņas of gods ( devagana ) were made and worshipped by their respective devotees.: Reference has also been made of an image of Nārāyaṇa which was installed in the temple.* A beautiful image adorned with flower-garlands was worshipped in Anandapura.5 People physically unclean were not allowed to touch or worship these sacred images. During the Leppagamaha which was a festival observed in ancient times during the early spring season (balavasanta ), the images of gods were taken in a procession accompanied by artisans playing the musical instruments in order to be installed in the temple.?
On the basis of material used, the images of gods were classified in three categories8 : (i) images of gods and goddesses carved in wood ( katha-kamma ) or cast in clay ( pottha ) or plaster ( leppaga ) or paintings (citta-kamma). They belonged to the lowest grade as they were susceptible to getting spoiled
1. Shah, U. P., Studies in Jaina Art, p. 4. 2. Ibid., p. 5, also see figs. 20 and 22. 3. NC. 3, p. 142. 4. gare great ac ornar afha_NC. 4, p. 59. 5. NC. 3, p. 349. 0. Thefarit di afër fəale, 345 aui ar pure a CA-NC. 4, p. 151. 7. NC. 3, p. 145. 8. NO. 4, p. 6; Brh. Vp. 3, p. 708.
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