Encyclopaedia of Jaina Studies Vol 01 Jaina Art and Architecture

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

Page 304

282
Encyclopaedia of Jaina Studies
period reveal serenity and elegance and are mainly found from Mathura, Nachna (Panna, M.P., now in Tulasi Museum Ramavana, Satna, Pl. 126), Udaigiri (cave 20), Akota, Badami and Aihole (Pl. 153). It appears that from 6th-7th century A.D. onwards Parsvanatha alongwith seven-hooded snake canopy was also provided with figures of Yakṣa and Yakṣi. North India
The early medieval images in north India are found mainly from Osian, Vimalavasahi, Lūņavasahi, Kumbharia, Śatruñjaya, Girnar and Ranakpur of Śvetämbara affiliation and Mathura, Deogadh (about 30 figures, 9th 11th centuries A.D.), Khajuraho (11 figures, 10th-12th centuries A.D.), Khandagiri, Gwalior and many other places of Digambara affiliation (Pls. 155-156). In some of the examples from Osian and Vimalavasahi (devakulikā No. 4, A.D. 1188) the Yakṣa and Yakşi are traditional ones. In case of Vimalavasahi the four-armed Yakṣa with the canopy of snake-hoods and tortoise mount is elephant-headed in concurrence with Svetambara text Nirvāṇakalikā (18.23). The Yakṣa bears snake, snake, purse and a pot filled with sweet balls (modaka patra), suggestive of the impact of Gaṇeśa. The four-armed Yakṣi Padmavati with three-hooded snake canopy rides on kukkuța-sarpa and carries lotus, noose, goad and fruit in her hands as envisaged by Trisastisalakapuruşacaritra (9.3.364-65).
A unique circular stone plaque facing the southern mandapa of Dharana Vihara (Sarvatobhadra Adinatha Jinalaya, A.D. 1439) at Ranakapur (Pali, Rajasthan) depicts Sahasraphaṇā Pārsvanatha in the kayotsargamudra with dhoti (Pl. 163). What is remarkable is the artistic rendering of thousand-hooded snake canopy forming a beautiful umbrella. The tail of the beautifully delineated flanking fly-whisk bearing nägis alongwith numerous nägi figures with garlands (for worshipping Jina) all around forms a marvellous interlocking circular pattern of rare artistic excellence and dexterity. The presence of two flanking female figures with ornaments by the side of Parsvanatha in kayotsarga is enigmatic and also inexplicable at the moment.
At Digambara Jaina sites like Khajuraho and Deogadh, Parsvanatha with seven-hooded snake canopy is mostly standing with the figures of Dharanendra and Padmavati with snake canopy. Dharanendra is shown with folded hands while Padmavatī is having a long parasol, the top of which is shown above the snake hoods of Pārsvanatha. In such cases Dharanendra is present both as a snake with seven hoods shown over the head of Jina and also as a devotee Yakṣa with folded hands. Surprisingly in few instances at Deogadh, Khajuraho and some other Digambara Jaina sites, in addition to above figures we also come across the figures of two-armed Dharanendra and Padmavati at throne ends. South India
A standing figure of Parsvanatha with seven-headed snake canopy is carved on a boulder at Tirakkol (North Arcot, Tamil Nadu, Pallava, 8th 9th century A.D.) (Pl. 157). The animated rendering of bowing Dharanendra with folded hands and Padmavati with long parasol and also the figure of hovering Kamatha at right top with big rock to dissuade Pārsvanatha from penance are highly impressive. The rock-cut carvings at Karaikoyil and Melsittamur (Tamil Nadu, c. 8th-9th century A.D.) include a group of two majestic panels side by side, one represents Pārsvanatha (with seven-hooded snake canopy and the figures of Dharaṇendra - Padmavati and Kamatha) while the other shows Bahubali (with entwining creepers and Vidyadharis). Such juxtaposed composition of Parsvanatha and Bahubali was much favoured in south India, apparently because of the rigorous tapas of the two. Jaina caves at Badami, Aihole and Ellora have yielded such examples.
Close to the Śiva temple at Kalugumalai (Pandya period, Tamil Nadu, c. 8th 9th century A.D.) is a large rock carved with figure of Parsvanatha (in kayotsarga) engrossed in tapas. The sublimity of spirituality is expressed through the face, proportionate body and innovative composition. Parsvanatha is joined by Dharanendra and Padmavati, who stand in devotional mood. The flexions of these figures are indeed so charming that they add to the rhythmic arrangement of