Encyclopaedia of Jaina Studies Vol 01 Jaina Art and Architecture

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

Page 309

Jinas or Tirthankaras
287
be assigned to the 9th century A.D.
manner. The figures even in groups retain their In a ceiling of the Pancakūta Basti at Kambadahalli individuality both in action and expression. Through (Mandya, Karnataka) there is an elaborately carved these panels the Jaina values of austerity, detachment sculpture of Mahavira sitting in dhyana-mudrā with the and non-violence are reflected figures of two-armed Sarvänubhūti Yakşa and Ambika DVITĪRTHI AND TRITIRTHI JINA Yaksi on the right and left sides of the simhasana. The
IMAGES whole relief is in the centre of the ceiling and on all The images which represent two or three different the sides of this relief are carved figures of the eight Jinas together are known respectively as Dvitīrthi and Dikpalas in separate compartments. The whole ceiling Tritirthi Jina image. However, reference to Dvitirthi or panel dates from c. 10th century A.D.
likewise Tritirthi Jina images are not found in the Jaina An image of 12th century A.D. from Karnataka texts. Therefore it appears that these were innovations is preserved in the Manjusha Museum, Dharmasthala on the part of the artists and the Acāryas. It was perhaps which shows Mahāvīra as standing sky-clad in the intended to introduce the concept of composite images kāyotsarga-mudrā with the figures of four-armed Yaksa in Jainism since these figures represent two or three and Yaksi holding lotus, fruit, goad and noose different Jinas together and with usual astaprātihäryas
During the Kuşāņa period (Kankāli Țīlā, Mathura, and Yakşa-Yakși figures to put them at par. It may be 1 century A.D.) an episode from the life of Mahāvīra mentioned here in passing that the Hariharapitāmaha showing the transfer of embryo of Mahāvīra from the images (8th to 12h century A.D.) from Ellora, Khajuraho, womb of Devananda to the womb of Trisalā Abaneri and Thanjavur (Brhadīśvara temple) likewise (garbhāpaharana) by Harinaigamesi Deva, commander depict the Brahmanical trinity (Brahmä, Vişnu and Siva) of the divine infantry, was also depicted on a relief together with traditional attributes and mounts on one panel (Pl. 168). This particular episode is found in single pedestal. The Dvitirthi and Tritirthi Jina images Svetāmbara texts only. The Digambara Jainas do not which were carved from about 9th century A.D. are accept its veracity. This narrative panel, now preserved found mostly in north India. However, another type of in the State Museum, Lucknow (Acc. No. J. 626), composite images in Jaina art were carved at Son represents an important development in respect of the Bhandar and Vaibhargir (Ragjir, Bihar, 6th-11h centuries rendering of life episode (Pl. 168). The Mahävīra and A.D.) wherein Supārsvanātha or Parsvanātha Jinas Sāntinātha temples (11h century A.D.) of Kumbharia having respectively five or seven-hooded snake canopy show detailed representations from the life of Mahāvīra overhead are provided with elephant, conch and lion which mainly include his previous existences, the five cognizances on the pedestals to depict the composite auspicious events of his life and the episode of images of Pärsvanātha-Ajitanätha, Supärsvanātha - Candanabālā (PL. 170). There are detailed renderings Neminätha and Pärsvanätha-Mahävira. One image of of the suffering inflicted on Mahāvīra by Sulapāņi Rşabhanātha (8th century A.D.) from Kankāli Țīlā, Yaksa, Sangamadeva, and the snake Chanda-Kausika. Mathura (now in State Museum, Lucknow, J. 78), Labelled as Mahāvīra upasarga these panels depict the depicts the Jina with bull cognizance but with the physical pain and mental anguish caused to Mahāvīra figures of Kubera and Ambikā as Yakşa-Yakși and the during the course of his penance, and his steadfastness figures of Balarāma and Krsna carved in the parikara in the face of extreme provocation (Pl. 170). The to suggest the presence of Neminātha also. Hence it deeply-cut and skillfully modelled figures capture the is the composite image of Rşabhanātha and Neminātha. movements of the figures in a realistic and animated The Dvitirthi Jina images are found mainly from
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