Encyclopaedia of Jaina Studies Vol 01 Jaina Art and Architecture

Author(s): Sagarmal Jain, Others
Publisher: Parshwanath Vidyapith

Page 287

Jinas or Tirtharkaras
265
Nalanda, 8ih century A.D.). The figure of bull cognizance is carved here in a pair on two sides of the dharmacakra which is a unique feature (Pl. 133). The medieval figures are characterised by elaborate parikara and excessive ornamentation and flexions in respect of Yaksa- Yakși and other figures. Thus Jina images became wonderful combination of spiritual (Jina) and worldly beauty (parikara figures).
In north Indian examples the Yakşa-Yakși are always Gomukha and Cakreśvarī, while the other features like lateral strands and bull cognizance are the same. However, the rendering of 23 Jinas in the parikara, sometimes with respective cognizances (Surohara, now in Varendra Research Museum, Bangla Desh, No. 1472) was very popular in north Indian examples. Sometimes, as found at Khajuraho, Deogadh and other places, the figures of Navagrahas are also carved on the pedestal (Pl. 134). At least in three examples of 10h-12h centuries A.D. from Deogadh (Temple No. 2), Khajuraho (Jardin Museum, Khajuraho, Acc. No. 1651) and Jalaun (State Museum, Lucknow, Acc. No. 16.0.178), the figures of Lakşmi, Sarasvati, Ambikā and few other goddesses are also carved to hint at the paramount importance of Jinanātha (as called in the inscription of the Pārsvanātha - actually Adinātha Jaina temple of Khajuraho.)
One bronze figure (c. 104 century A.D.) from Orissa, now in Ashmolean Museum, Oxford (Acc. No. BL 43), represents Rşabhanātha with beautiful tall jațā- mukuta in Orissan style. The slender body with slightly exaggerated elongation gives an impact of weightlessness which reminds us of the other Orissan sculptures, one of which (representing two Jinas in Dvitirthi image) could be seen in the British Museum, London (Acc. No. 1872.7-1.99).
In south India the Rşabhanātha images were carved from about 9h century A.D., the examples of which are found at Ellora. A Jina Cauvisi of Rsabhanātha seated with hair-locks and two-armed Yaksa-Yaksi is found from Pudukkottai (Tamil Nadu, 11th 12th century
A.D., now in Department of Archaeology, Mysore) (PI. 139). However, the Yakşa-Yakși apparently are not Gomukha and Cakreśvari. A seated image with flywhisk bearing attendant is also found from Gulbarga. The Pudukkottai museum, Tamil Nadu, preserves a small bronze of Caturvimsati-Patta (c. 1000 A.D.) which contains in the centre a standing figure of Rşabhanātha with hair-locks and Gomukha Yakşa and Cakreśvarī Yakși. The bronze was dug out from the site of the Maharaja's College at Pudukkottai. Another beautiful sculpture of Rşabhanātha (c. 10th 11th century A.D.) from Warangal (A.P.) is now preserved in the National Museum, New Delhi. The Nagpur Museum also preserves a hoard of beautiful Jaina bronzes from Rajnapur Khinkhini (Akola, Maharashtra) which has Caturvimśati-patta of Rşabhanātha (10th century A.D.). The Yakşa is Kubera while the Yakṣi with discs is undoubtedly Cakreśvarī.
A graceful stone image of Rşabhanatha with hanging hair-locks and standing as he is in the käyotsarga-mudra is preserved in the Neminātha temple (11th century A.D.) at Amminabhavi (Dharwar, Karnataka) (Pl. 138). Rsabhanātha is here joined by the figures of Yakşa (which is not Gomukha) and Yakşi (Cakreśvari) along with the standing figures of Pārsvanātha and Supärsvanātha shown respectively with seven and fivehooded snake canopy on right and left flanks. The image is beautiful in terms of framing ornate pilasters topped by makara and trichatra along- with 21 other diminutive figures of seated Jinas elegantly arranged in parikara composition. The present Cauviši of Rşabhanātha is, indeed, vibrant with life and spirituality.
The group of 24 Jinas from Venur (14th century A.D.), Sravanabelagola and other places also exhibits Rşabhanatha. At Venur Rşabhanatha with bull cognizance is joined by four-armed human-faced Yaksa (not Gomukha) bearing rosary, axe, goad and fruit, while twelve-armed Yakṣi with disc, thunderbolt, lotus and varada-mudra is Cakreśvari.
Another very significant aspect was the rendering
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