Encyclopaedia of Jaina Studies Vol 01 Jaina Art and Architecture

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

Page 297

Jinas or Tirtharikaras
275
533, 11th century A.D., with cognizance and the figures 1192 a fine Jinālaya of god Abhinava Sāntināthadeva, of Sarvānubhūti and Ambikā), Padhavali, Ahar (A.D. called Nagarajinālaya, was erected by some business 1180), Dhubela Museum (A.D. 1146), Bajarangagarh magnates of Dvārasamudra, the capital of Hoysala kings (Guna, A.D. 1179) and Madanpur (two images of A.D. in Karnataka. We also come across the figures of 1053 and 1147). It may be noted here that in north India Săntinātha at Sravanabelagola, Moodbidri and Venur. at Deogadh, Khajuraho and Dudhai the colossal images The narratives from the life of śāntinātha were (12 feet high) of śāntinātha, mostly as standing sky-clad also carved in the ceilings of Sāntinātha and Mahāvīra in kayotsarga-mudrā, were carved which indicate that temples at Kumbharia (11th century A.D.) and VimalaŠāntinātha enjoyed venerated position in the region (Pl. vasahi (cell No. 12) at Delvada (12th century A.D. 143). The installation of huge images of Sāntinātha in a (Pl. 144 and 169). These examples show, besides the particular region might have some other suggestions as Pancakalyäņakas, some remarkable incidents from the well. It may be remembered that he was also a cakravartin previous existence of Santinātha in which as king and he quit everything before his renunciation. The deer Megharatha he saved the life of a dove by offering his cognizance and huge images may suggest the emphasis flesh to a falcon. Virtually he was put to test by god on peace required specially in the region for political Surūpa who entered the body of dove. We also find reasons. The images from north India at least upto 10th parallel of this story in Brahmanical tradition (story of century A.D. show the deer cognizance in pair also. The King Sibi). In all the instances from Kumbharia and Yaksa-Yakṣi with Santinātha are also either Sarvānubhūti Delvada we find Megharatha weighing his body in the and Ambikā or they do not show distinguishing features. balance. Sāntinātha was a cakravartin before becoming In some of the examples where Sāntinātha temples a monk and hence in the narratives we also find different (Deogadh, Khajuraho) were erected, the figures of ratnas or insignias like sword, parasol, cakra and Navagrahas were also carved. A beautiful 9th century Navanidhis which were abandoned by Sāntinātha at the seated image from Kausambi (Allahabad Museum, Acc. time of his renunciation. The detailed narratives are No. 535) also exhibits the deer cognizance in pair. The vibrant and communicative and correspond with the faces and body contours are soothing.
descriptions found in the Trisastisalākāpurusacaritra. The images from Bihar, Orissa and Bengal, datable
KUNTHUNATHA (17th Jina) from 9th to 12th-13th centuries A.D. and showing both Kunthunatha has been endowed with goat (chäga) the cognizance and Yakşa-Yakși figures, are found cognizance and Gandharva and Balā (or Vijayā or Jaya mainly from Khandagiri (Bārabhuji and Trisula caves, or Mahämänasī, according to Digambara tradition) are with Yakşi in Bārabhuji cave), Rajpara (Midnapur, W. his Yaksa and Yaksi. The images of Kunthunātha (with Bengal), Manbhum (Patna Museum), Mandoil (Rajshahi cognizance) are found from 11th century A.D. The Museum, Bangaladesh), Burdawan, Aluara, Yakṣa and Yakṣī figures in Kunthunātha images appear Ambikanagar, Charampa (State Museum, Bhubaneshwar) only from the 12 century A.D., which are Sarvānubhūti and Pakbira (Purulia, West Bengal, 11th century A.D.). and Ambikā in place of the traditional ones. It is interesting to note that in the käyotsarga image Surprisingly six bronze images of 11h century from Pakbira, besides deer cognizance and the figure A.D. are found from Aluara (Bihar, now in Patna of Naigamesi and Navagrahas, the simhāsana also Museum, Nos. 10675, 10689 to 10693) which depict exhibits the Siva-linga which is a rare example of the Jina as standing sky-clad in the kāyotsarga-mudra composite character inherent in Indian art and culture. with goat cognizance, and in three examples with the
As compared to north India, the images of figures of the Grahas also. The number of independent Säntinātha are meagre in south India. Around A.D. images of Jina is suggestive of the popularity of
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