Encyclopaedia of Jaina Studies Vol 01 Jaina Art and Architecture

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

Page 302

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Encyclopaedia of Jaina Studies
also the image is impressive.
In western India the images of Neminatha are found mainly from Katra (Bharatpur, Rajasthan, c. 10th century A.D., now in Government Museum, Bharatpur, Acc. No. 293), Kumbharia (Pärśvanatha and Neminatha temples), Lūnavasahi (in sanctum) and Girnar. These figures, datable between 10th and 15th centuries A.D., have the conch cognizance and the figures of Sarvanubhuti Yakṣa and Ambika Yakṣi.
In north India, besides Mathura (Pl. 171, composite figure of Neminatha with Rṣabhanatha) sufficient number of Neminatha images are procured from Bateshwar, Maihar (M.P.), Deogadh (30 figures of 10th - 12th centuries A.D., Pl. 151), Gurgi (Rewa, now in Allahabad Museum, Acc. No. A.M. 498), Gyaraspur (Maladevi temple, Vidisha, M.P., 10th century A.D.), Khajuraho (2 figures of 11th-12th century A.D.), Aluara (Patna Museum, Acc. No. 10688), and Navamuni, Bārabhuji and Trisula caves (11th 12th century A.D.). These figures as usual are endowed with conch cognizance and the figures of Sarvanubhuti and Ambika. In a solitary instance from Deogadh (temple 16, 10th century A.D.) the YakṣaYakşi are Gomukha and Cakreśvarī associated with Rṣabhanatha. May be that this image with conch cognizance represents composite image of Rṣabhanatha and Neminatha.
A unique tritirthi Jina image from Deogadh (on enclosure wall of Temple No. 12, 11th century A.D.) represents the last three Jinas - Neminatha (with conch cognizance), Pärśvanatha (with seven-hooded snake canopy) and Mahavīra (with lion cognizance) -as standing sky-clad in the kayotsarga-mudra with usual prätihāryas.
A unique bronze image of Neminatha from Karnataka (10th 11th century A.D.), standing as skyclad in the kayotsarga-mudra (without any pratihärya), is preserved in Stan Czuma Cleveland Museum (U.S.). This unusual image depicts Neminatha as standing at the top of big size conch shell. The textual and epigraphical evidences demonstrate that such images were housed in shrines known as Sankha Jinalaya as
referred to by Jinaprabhasuri in the context of Sauryapura (Mathura), Dvaraka and Stambhatirtha (Cambay in Gujarat). Surprisingly, an identical figure of Neminatha (here with Yakṣa-Yakṣi figures and trichatra) in käyotsarga is found from a temple at Moodbidri also (Karnataka, c. 15th century A.D.).
At Venur and Śravanabelagola in Karnataka and at Poyagaimalai at Kuppalanatham and Karupannasami rock at Uttampalaiyam in Tamil Nadu and at some other places the figures of Neminatha are found mainly in the midst of 24 Jinas or group of Jinas of less than 24. A large monolithic image of Neminatha is found from a temple complex dedicated to Nemīśvara at Tirumalai (north Arcot, Tamil Nadu). Several important temples dedicated to Neminatha were erected mainly at Śvetambara Jaina sites of western India (Kumbharia, Delvada, Luṇavasahi and Girnar).
The scenes from the life of Neminatha are found mainly in the ceilings at Kumbharia (Śantinatha and Mahavira temples, Pls. 152, 169) and Delvada (Vimalavasahi and Lūṇavasahi), datable between 11th and 13th centuries A.D. These narratives, besides the usual 14 auspicious dreams and pañcakalyaṇakas, also depict some exclusive scenes like the story of trial of strength between Neminatha and Kṛṣṇa and former's victory over Kṛṣṇa to suggest the superiority of Jainism. The episode of the marriage of Neminatha, which subsequently became the cause of renunciation of Neminatha according to Svetämbara texts, is prominently carved. The texts mention that the marriage of Neminatha was arranged with princes Rājīmati, the daughter of Ugrasena. While marriage procession was moving towards the bridal pavilion, Neminatha sitting in a chariot happened to notice a number of animals being kept in a cage which were to be slaughtered for his marriage feast. This point of violence pricked so much to Neminatha that he at once decided to renounce the world without going even to the place of marriage. He immediately returned back and consequently went to mount Raivataka (Girnar) to take dikṣā. The scene in the Santinatha temple (Kumbharia) shows animals like