Encyclopaedia of Jaina Studies Vol 01 Jaina Art and Architecture

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

Page 332

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Encyclopaedia of Jaina Studies
given in the appendices of the Bhairava-Padmavati- Kalpa. Apart from the propitiatory rites, the gruesome rites were also accepted in the Tántrika mode of her worship. The Ambikā-devi-stuti of Jineśvara Suri (c. 12th century A.D.) rightly invokes her as Jagajjanani and Jagatsvāmini.
The earliest reference to Ambika is obtained in the vrtti of Jinabhadragani Kșamäśramana on his Višeşāvaśyaka-bhāsya. The earliest archaeological evidence shows that Ambikā does not appear in Jaina worship prior to c. 550 A.D. The earliest known representation of Ambikā, both with the Jina (Rsabhanātha) and in independent image is datable to late 6th century A.D. These figures are procured from Akota. One of her early images was obtained from the Meguti temple (c. 634 A.D.) at Aihole, now preserved in Aihole Site Museum. The image, though mutilated, is exquisitely carved with beautiful and slender body revealing plasticity. Bappabhatti Suri (8th century A.D.) invokes Ambikā both with Neminatha and Mahāvīra (22.88; 24.96). A number of independent figures of Ambika were carved during the 8th - 9th century A.D., the examples of which are known mainly from Mathura, Dhank (Saurashtra, Gujarat), Osian (Mahāvira temple), Akota, Mathura, Deogadh (Temple No. 12, A.D. 862) and Ellora (Jaina Caves 30-34, c. 9th century A.D.), (Pls. 181-182).
After the 9th century A.D. Ambikā enjoyed still greater popularity as is evidenced by the innumerable instances of her renderings in sculpture and painting. Deogadh, Khajuraho (Pl. 184), Delvada (Pl. 186) Kumbharia (Pl. 187), Hingalajgarh (Mandasaur, M.P.), Hagargundagi (Gulbarga, Karnataka- c. 10th century A.D.), Kalugumalai (Tirunelveli, Tamilnadu - c. geh. 9th century A.D., PI. 183), Venkunrum (North Arcot, Tamil Nadu - 14th-15th century A.D.), Ammanagi (Belgaum, Karnataka - 13th century), Hubli (Dharwar, Karnataka - 13th century A.D.), Sedam (Gulbarga,
Karnataka, c. 12th century A.D.), Moodbidri (South Kannara, Karnataka, 13th century A.D.), Nallur (South Kannara, Karnataka - 16th century A.D.), Sravanabelagola (Hassan, Karnataka-10th century A.D.), Terdal (Bijapur - Karnataka - 11h century A.D., PI. 188), Saligrama (Mysore- Karnataka - 12th century A.D., Pl. 189) and Khandagiri are the sites which have yielded large number of Ambikā sculptures datable between the 10th and 15h-16h centuries A.D. It was during the 10th and the 13th centuries A.D. that the iconographic form of Ambikā witnessed several such additions which hint at the elevation of her status, sometimes equalling even to the Jinas, highest in Jaina worship. In one of the instances from Khajuraho, datable to c. 11th century A.D. (Archaeological Museum, Khajuraho, Acc. No. 1608) Ambikā, like the Jinas, is joined by the figures of Yakșa and Yakși. A nonpareil image of Ambikā from Patiandai (Satna, M.P.), assignable to c. 11" century A.D. (Allahabad Museum, Acc. No. 293), contains the figures of the remaining twenty three Yakşīs alongwith their names inscribed below their figures in the parikara which perhaps suggest that she is represented here as the head of the group of the 24 Yaksis (Pl. 185). Aesthetically also the figure is beautiful with supple and flexioned body and rich ornaments.
In addition to the usual ämralumbi and son, the attributes like goad, noose, mirror, manuscript-cumlotus, vajra-ghantā, sword and disc were also incorporated in the iconography of Ambika. The rendering of goad and noose, however, finds textual support right from early 10th century A.D. onwards in north India (Nirvāņakalikā – 18.22) while reference to sword and disc are found only in south Indian works. The inclusion of goad, noose, sword and disc was intended probably to suggest the power of Yakși Ambika who has constant vigil and control over evil spirits such as the grahas, bhutas, rogas, räkșasas and piśācas. According to the Harivarnía-Purāņa, as a Sāsanadevatā she was supposed
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