Encyclopaedia of Jaina Studies Vol 01 Jaina Art and Architecture

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

Page 314

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Encyclopaedia of Jaina Studies
The earliest Yakşa-Yakşi carved in Jaina sculpture associated with all other Jinas generally show identical was Sarvānubhūti and Ambikā. Next come the figures features with very few exceptions exhibiting iconographic of Dharanendra and Padmāvati, the Yakşa-Yakși of peculiarities. Sarvānubhūti and Ambikā, the most Pārsvanātha. The other Yaksas and Yaksīs were carved favoured Yaksa-Yaksi pair at the Svetāmbara Jaina in c. 10th century A.D. onwards. In the sculptures from sites, were carved almost with all the Jinas. c. 6th to the 9th century A.D. Rşabhanätha, Säntinātha, The rendering of the Yakşa-Yakși figures with the Neminātha, Pārsvanātha, Mahävira and some other Jinas Jinas became a regular feature after 9th century A.D. are accompanied by the single Yakşa-Yaksi pair. It may be noted here that in independent sculptures the Sarvānubhūti and Ambikā. It was only in c. 10th century depiction of the Yaksis was more popular than their A.D. onwards that separate Yakşa-Yaksi pairs were male counterparts. We have come across three instances carved with the above Jinas. In such sculptures, of collective renderings of the 24 Yaksis but the Rşabhanātha, Neminātha and Pärsvanātha are representation of the 24 Yakşas has not been reported accompanied respectively by the traditional Yaksa-Yaksi from anywhere so far. The fact is suggestive of pairs, Gomukha - Cakreśvari, Sarvänubhüti-Ambikā, and comparatively favoured position enjoyed by the Yaksis Dharanendra-Padmāvatī, while the Yakşas and Yakşīs taken as embodiment of Sakti or power. The instances accompanying śāntinātha and Mahāvīra usually do not of collective renderings of 24 Yakṣis are known from have traditional features.
Deogadh (Temple 12), Patiandai temple (Ambikā image) One of the earliest instances of the collective and Bārabhuji cave (Khandagiri, Puri, Orissa, 11th-12h representations of 24 Yakṣīs is known from the temple century A.D.; Pl. 200, 201, 202). The Ambikā image No. 12 at Deogadh (A.D. 862). At Deogadh the idea procured from Patiandai temple, about six miles from of associating a Yaksi with each of the 24 Jinas with Satna in M.P., is a nonpareil image of Ambikā inasmuch different appellations could only be manifested, but as it contains the tiny figures of other 23 Yakṣis in their independent iconography was not yet settled, except the parikara alongwith their appellations inscribed below for Ambikā, the Yakși of longer tradition. Several of (Pl. 185). It is quite interesting to find their iconographic the Yaksis in Deogadh series bear direct influence of details as well as the appellations mostly concurring the Svetambara Mahavidyās whose tradition was certainly with the dhyāna-mantras available in the Digambara older than the Sāsanadevatäs. It is important to note texts. The image, fashioned in buff-coloured sandstone, that the Yaksis are carved in association with Jinas and is now on display in the Allahabad Museum (Acc. No. the names of both are inscribed to facilitate their AM 293). The beautiful image is datable to c. 11th identification.
century A.D. both on account of style and iconography. It may be underlined here that despite the fact that Of the 23 Yaksis carved in the parikara, the all the iconographic texts from c. 11th century A.D. figures of 18 Yakşīs, in vertical rows, are carved on onwards treat of the iconographic forms of the 24 two flanks of Ambika while the remaining five are Yakşas and Yaksis, the independent forms of only portrayed in a horizontal row at the top of the parikara. Gomukha-Cakreśvari (of Rşabhanātha), Sarvānubhūti The Yakşīs atop the parikara are labelled as Vahurūpiņi, or Kubera-Ambikā (of Neminātha) and Dharanendra- Cāmundā, Sarasati, Padumăvati and Vijayā, while those Padmavati (of Parsvanatha) could be manifested in art. on the two flanks (from top to bottom) are Jaya, Sometimes Sāsanadevatās of Supārsvanātha, Anantamati, Vairotā, Gauri, Mahākāli, Kāli, Puşadadhi Candraprabha, śāntinātha and Mahāvīra also exhibit and Prajāpati (on right), and Aparājitā, Mahāmānusi, independent iconographic forms. The Yakşa-Yakşi Anantamati, Gāndhāri, Manusi, Jalămălini, Manujā and
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