Encyclopaedia of Jaina Studies Vol 01 Jaina Art and Architecture

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

Page 340

CHAPTER X
VIDYADEVIS
The Vidyadevis forming a group of Tantric goddesses had enjoyed a venerated position among both the Śvetambara and Digambara Jaina sects. The early Jaina Āgamas like the Sthānanga, Aupapātika, Jñātādharmakathanga and other works like the Paumacariya of Vimalasūri (A.D. 473), the Vasudevahindi of Sanghadasagani (c. mid 6th century A.D.) and the Harivamsapuraṇa make frequent references to various Vidyas who are endowed with supernatural powers. The list of the sixteen Mahavidyas was prepared from a number of different Vidyadevis. The earliest lists are enumerated in the Tijayapahutta (c. 9th century A.D.), the Samhitäsära of Indranandi (Digambara, A.D. 939) and the Stuticaturviṁśatikā or Sobhana-stuti of Sobhana Muni (c. A.D. 1000). But their individual iconographic features for the first time are enunciated in Bappabhatti's Caturviṁśatikā and the Sobhana-stuti. A number of later texts of the Śvetambara as well as the Digambara sects also deal with the iconography of the sixteen Mahavidyas. The final list of the sixteen Mahavidyas among both the sects was prepared between the 8th and 10th century A.D. The final list supplied by the later traditions of both the sects includes the following names: (1) Rohini, (2) Prajñapti, (3) Vijraśṛnkhala, (4) Vajrankusa, (5) Cakresvart or Apraticakra (Svet.) and Jambūnada (Dig.), (6) Naradatta or Puruşadattā, (7) Kāli or Kālikā, (8) Mahakali, (9) Gauri, (10) Gāndhārī, (11) Sarvāstra-mahājvālā or Jvālā (Śvet.) and Jvālāmālinī (Dig.), (12) Manavī, (13) Vairotya (Śvet.) and Vairoți (Dig.), (14) Acchuptā (Śvet.) and Acyuta (Dig.), (15) Mānasī and (16) Mahāmānasī.
Unlike the Śvetämbara occurrence of the Mahavidyas in western India, no corresponding sculpture or painting of the Digambara sect has so far been known, excepting on the facade of the Adinatha temple (c. late 11th century A.D.) at Khajuraho where a series
of the sixteen Mahavidyas are encountered (Pl. 207). The goddesses on Adinatha temple, crowned by tiny Jina figures and possessing four to eight arms, are either seated in lalitasana or standing in tribhanga. They bear various attributes and are provided with their vahanas. On the basis of the iconographical characteristics, we are tempted to suggest possible identification of some of the figures with Acchupta, Vairotyä, Gāndhārī, Mahāmānasī, Gauri, Apraticakra and Puruṣadatta Mahavidyās. So far as the collective rendering of the sixteen Mahavidyās is concerned, only a few examples are so far known at the Svetambara Jaina sites, namely the Santinatha temple at Kumbharia (aisle ceilings, A.D. 1077), Vimalavasahi (two sets, one in the rangamandapa ceiling, A.D. 1150, Pl. 204 and the other in the corridor ceiling of cell No. 41, A.D. 1185), Lūnavasahi (rangamaṇḍapa ceiling, A.D. 1230) and the Kharataravasahi (two sets, A.D. 1459). The Śvetambara temples at Osian, Kumbharia, Taranga, Ghanerav, Sadri, Nadol, Delvada and many more, datable from 8th to 15th century A.D., invariably depict Jaina Mahavidyas with distinguishing attributes and mounts as prescribed by the Svetambara texts. The rendering of the Mahavidyās was also very popular in Jaina miniature paintings.
The earliest known representations of Śvetambara Jaina Mahavidyas in architectural context are found at the Mahavira temple at Osian (8th century A.D.) (Pl. 203). The figures of the Mahavidyas at the Mahāvīra temple, Osian, are either two- or four-armed, the twoarmed figuring more frequently. However, the figures on the devakulikās (11th century A.D.) also show the six-armed examples. With few exceptions of standing figures, the rest are shown as seated in lalitasana. The Mahavidyas, with their specific mounts and attributes, are carved above the eaves of the mukhacatuṣki, mukhamandapa, and the gudhamandapa of the main