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CHAPTER VII
INTRODUCTION
The religion and art in Indian context go hand in hand, and virtually the religious thought and concept find visual expressions in different forms of art like architecture, sculpture, icon, painting and also fine arts and performing arts. All These elements in Jaina context are the vehicles of the principal ideas of spirituality, non-violence, absolute renunciation and austerity. It may be pointed out at the outset that it was only with the Jainas that they did never compromise with their basic tenets which find best expressions in the images of the Jinas or Tīrthankaras and Gommateśvara Bāhubali. Before taking up the evolution of Jaina sculptures and their iconography in North and South India, it is essential to have a background of patronage and Jaina pantheon also. PATRONAGE
The political and economic conditions always influence the development of religion and art. As regards Jainism, it received patronage and support from the rulers of North as well as South India. The main rulers of North India who either embraced or at least supported Jainism were Candragupta Maurya (c. 4th - 3rd century B.C. - at least towards the last years of his life he became Jaina), Samprati (3rd century B.C. - Mauryan ruler), Khāravela of Kalinga (Orissa - known through Häthigumpha inscription of about 1st century B.C. The Hāthīgumphā inscription says that Khāravela professed Jainism and got excavated Jaina caves and set up Jaina images and memorials to monks.), Nāgabhata II of the Pratīhāra dynasty (9th century A.D.) and Kumārapāla Caulukya (12th century A.D. – he patronized great Svetāmbara Jainācārya Hemacandra who composed the work like Trişaştiśalākāpuruşacaritra. Numerous Jaina temples were built by Kumārapāla, the most exquisitely carved of all such temples are at Jalore and Taranga).
As compared to North India, in South India more
vigorous support was accorded to Jainism by the rulers of the Ganga, Kadamba, Călukya, Rästrakūta, Hoysala and Vijayanagar dynasties. Amoghavarşa of the Rāştrakūta dynasty (9th century A.D.) and Cāmundarāya, the General of Ganga King Mārasimha (10th century A.D.), made outstanding contributions to Jainism including Jaina art. The Jaina caves of Ellora and vestiges at Sravanabelagola bear testimony to their support. Further, Jinasena and Gunabhadra composed the great Epic Mahapurana (comprising Adipurana and Uttarapurāna) at the time of Amoghavarşa. The Hoysala king Vişnuvardhana, originally a disciple of Jainācārya Prabhācandra, only subsequently embraced Vaisnavism, though his queen Santala Devi continued to be a Jaina. The Vijayanagara rulers and their queens in several cases either accepted or supported Jainism.
Jainism remained a popular religion throughout not only amongst the ruling dynasties but also the masses, specially the business class. There are inscriptional evidences from Mathura (Kankāli Țila), Osian, Delvada, Khajuraho, Jalore and several other places which frequently refer to the sresthin, sārthavāha, gandhika, suvarnakāra, vardhakin, lauhakarmak, nāvika, nartaka, vesyas and different gosthis of traders who were making significant contributions towards the development of Jainism and thereby Jaina art. PANTHEON
Historically speaking, the evolution of the Jaina pantheon (devakula) was a gradual process. By the end of 4th-5th century A.D. the Jaina pantheon mainly consisted of the 24 Jinas, Yakşas and Yakṣis (or Sāsanadevatās), Vidyādevis, Lakşmi, Balarāma, Krsna, Rāma, Naigameșa, Bāhubali, Bharata and other Salākāpurusas (or Mahāpurusas). The Salākāpurusas, 63 in number, are Great Souls and their lives are invariably referred to in the Svetāmbara Carita texts and the
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