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Jinas or Tīrtharkaras
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instances of Gupta period which show the distinguishing of the Jinas occur mainly at the Svetāmbara Jaina sites cognizances of Jinas. The Rşabhanātha image from in western India, namely, Kumbharia, Delvada Akota is the earliest Jina image with Yakșa and Yaksi (Vimalavasahi and Lūņavasahi) and Osian. These figures. The Brhatsamhita (58.45) of Varāhamihira is instances, datable between 11th and 13th century A.D. the earliest text which envisages the iconographic features deal chiefly with the pañcakalyāṇakas (five chief events of the sky-clad Jina images which have long-hanging in the life of a Jina - cyavana, janma, dikṣā, kevalajñāna arms, the śrivatsa mark, the serene and youthful and nirvāṇa) and some other important events in the appearance and beautiful form.
lives of Rsabhanātha, Santinātha, Munisuvrata, (Ajánulambabāhuḥ śrīvatsankaḥ praśāntamūrtiśca Neminātha, Pārsvanātha and Mahāvīra. Of all these, the digvāsästaruņo rūpavāśca kāryorhatām devaḥ//) scenes of fight between Bharata and Bahubali, the story
The Mānasära (c. 6ih century A.D., 55.46 and of the previous life of śāntinātha in which he generously 71.95) of southern tradition also visualizes Jinas as sky- offered the flesh of his entire body to save the life of clad and beautiful in forms (surūpa) but without ornament a pigeon, the trial of strength between Krsna and and drapery
Neminātha and also the marriage procession of Niräbharaṇasarvängam nirvastrāngam manoharam Neminātha and his renunciation, the story of sarva vakşasthale hemavarnam śrīvatsalāñchanam/ Asvavabodha and Sakunikāvihāra in the life of
The Pratisthäsärasaṁgraha (4.1-4) also gives Munisuvrata and the previous births of Pārsvanātha and identical features. The Jinas are always to be shown Mahāvīra alongwith their tapas and different upasargas in human form with two hands and two eyes. (inflictions) created by the demons are of special
The lists of the distinguishing cognizances of the iconographic importance. 24 Jinas were finalised in c. 8-9ch century A.D., as The images and iconography of each of the 24 referred to in the Kahāvali and the Tiloyapannatti Jinas will now be discussed alongwith other forms of (4.604-05) (PI. 238). As far as the cognizances of the Jina images like Dvitirthi, Tritirthi, Caumukhi and Jina Jinas are concerned, the Svetämbara and Digambara Cauvisí. traditions are in agreement with each other, with a few RSABHANATHA OR ADINATHA (I" Jina) exceptions as in cases of Supärsvanātha, Sītalanātha. The first Jina Rşabhanātha or Adinātha is also Anantanätha and Aranätha. The Jina images reached the worshipped as Adiśvara and Jinanätha. His cognizance final stage of iconographic development in c. 9h-10h is bull and he is shown with hanging hair-locks for century A.D. which invariably contained distinguishing which we find story in the Svetämbara texts that while emblems, Yakşa-Yakşi figures, aştaprātiharyas, all other 23 subsequent Jinas plucked out their hair in dharmacakra with worshippers, diminutive Jina figures five handfuls at the time of renunciation, Rşabhanātha, and, at times, figures of Navagrahas, Vidyādevis, at the request of Indra, plucked out his hair only in elephants lustrating the Jinas and some other figures. four handfuls and left the remaining hair (Kalpasūtra, The rendering of Säntidevi carrying lotuses and two 195 and Trişastiśalākāpuruşacaritra, 3.60-70). It is deer flanking the dharmacakra in the centre of the because of this tradition that Rşabhanatha right from throne (suggesting peace), bull-faced figures and some the Kuşāna period is shown with the hanging hair locks other figures playing on flute and vina in the parikara which was his distinguishing feature, besides bull of Jina images was confined mainly to the Svetāmbara cognizance. Surprisingly, the lateral strands are some Jaina sites of western India.
times shown like big jată or even jatä-mukuta in early The carvings of the narrative scenes from the lives medieval sculptures from M.P. and Orissa. The bull
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