Encyclopaedia of Jaina Studies Vol 01 Jaina Art and Architecture

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

Page 337

Yakşa-Yakși or Śāsanadevată
315
(24) Mātanga Yakșa and Siddhāyikā (or Siddhāyini) Yaksi of Mahāvira (24th Jina)
(i) Mātanga Yakşa-Mātanga in both the traditions is conceived as two-armed and riding on an elephant. The Svetāmbara texts provide nakula and fruit (Nirvāņakalikā - 18.24). The Digambara texts refer to varada-mudrā and fruit in hands and dharmacakra mark on head (Pratisthäsärasargraha - 5.72-73). On the contrary, the south Indian texts visualize the Yaksa as two, four and even six-armed. The two-armed Yaksa carry the same attributes as found in the north Indian Digambara texts. The four-armed Yakṣa with elephant mount shows abhaya and some other mudrā with two hands while two other hands are in the attitude of adoration. The six-armed Yaksa holds dharmacakra, kaśā, noose, thunderbolt, staff and varada-mudra. As against the south Indian texts, the Yakṣa with Mahävīra images is mostly two-armed and holds purse which speaks of the bearing of Kubera or Sarvānubhūti Yaksa. However in one example of 11th century A.D., carved in Badami cave No. 4, the four-armed Yaksa riding on elephant shows abhaya-mudrā, mace, noose and sword.
It is surprising that we do not find any independent image of the Yaksa and even in Mahāvīra images the two-armed Yaksa shows abhaya-mudra (or mace) and money-bag (or fruit or pitcher). The Yaksa in very few instances from north India (Deogadh, Khajuraho and Kumbharia) is four-armed. In all such cases the Yaksa is carved on the pedestal of Mahāvīra images. In the ceiling of śāntinātha temple (11th century A.D.) at Kumbharia, the four-armed Yaksa is carved in the midst of narratives from the life of Mahāvīra. The Yaksa riding on elephant shows varada-mudrā, manuscript, lotus (shown like umbrella) and water-vessel. Virtually the Yaksa here exhibits the features of Brahmaśānti Yakşa. In one instance from Khajuraho (Temple No. 2 - A.D. 1092) the mount with four-armed Yaksa is lion which is borrowed from the cognizance of Mahāvīra.
The Yakṣa here holds money-bag, spear, lotus, and staff. Thus it is apparent that in sculptural examples the form of Yaksa was never standardized and further the four-armed variety was based on some such tradition which is now lost to us.
(ii) Siddhāyikā Yakși-The figures of Siddhāyikā, available from different parts of India, are generally noticed as part of the image of Mahävira. In all such examples her prominent symbols are lion mount and a book just as a citron. Her separate images are rather rarer in northern India but in south India, especially in the Tamil country, she enjoyed much popularity. After Ambikā, Siddhāyikā was the only Jaina goddess to have received great reverence in Tamil Nadu. There is a bulk of iconographical and also epigraphical evidence to show that in the Tamil country, the Yakṣi was accorded an independent status. Most examples of Siddhāyikā images evince a departure from canonical injunctions in regard to her attributes and number of arms.
Siddhāyikā on the basis of the textual descriptions seems to have been worshipped mainly in two varieties of forms, namely the two-armed and the four-armed, though her six-armed and twelve-armed varieties are also known. The two-armed variety of goddess seems to be favoured only by the Digambaras. The Pratisthāsăroddhāra (3.178) describes the two-armed Yakşi as having gold colour and sitting on bhadrāsana, and showing book and the varada-mudră. Her mount is lion.T.N. Ramachandran gives a two-armed Digambara variety of the Yakṣi which is from the laudatory verses recited in Kanerese by the temple priest at Jina Kāñci. In verse, she is represented as seated in lalita-pose with hamsa as vähana and showing abhaya-mudra in right hand. Her left hand is hanging down. The Aparajitaprccha (221.38) prescribes abhayamudră instead of varada-mudra.
Both the Nirvänakalikä (18.24) and the
Jain Education Intemational