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Encyclopaedia of Jaina Studies
story related to Kaparddi Yakṣa and his previous existence is found in the Kaparddi-Yakşa-Kalpa of Vividhatirtha- kalpa (pp. 3-4) and Satrunjayamahātmya of Dhaneśvara Suri. Kaparddi is addressed as the Yakşarāja by Sobhanamuni wherein he is said to ride on an elephant (Stuti-Caturvimsatikā, 5.76). Bappabhatti also invokes Yakşaraja without giving the name Kaparddi. According to Jinaprabhasūri, Kaparddi holds noose, goad, wealth - increasing plant (dravya-prasevikā, possibly moneybag) and fruit (bijapuraka). The other texts also prescribe the same attributes for Kaparddi.
Compared to Brahmaśānti Yakşa, the figures of Kaparddi Yaksa are very few. Two sculptures of Yaksa are found on Satruñjaya hill in Gujarat. These are carved respectively in a separate cell and in the temple built by Vimala Shah. These figures depict the Yakşa in lalita-mudra on bhadrâsana with elephant mount. In concurrence with the texts, the Yaksa bears noose and goad in right and left upper hands while the lower hands show rosary and fruit. An earlier representation is found in Chāņi palm leaf miniatures which shows similar features, except for the lower hands being in varadamudrā. Kaparddi, as the lord of Yakşa, was also worshipped along with Ambā Devī. According to Jinaprabhasūri, Vāstupāla, a famous minister of Solanki king, built a temple of Kaparddi Yaksa at mount Girnar in the 13th century A.D. Thus, though not very popular, the tradition of the worship of Kaparddi Yaksa in the Svetāmbara tradition appears to have been old enough (at least 10th century A.D.) since Sobhanamuni refers to Kaparddi. Kaparddi being the epithet of Siva has the suggestion of some semblance with Siva, but on the basis of the iconographic features (elephant mount, goad and purse) he is closer to Indra or even Kubera who is also called Yakşarāja.
KSETRAPĀLA Kșetrapala, the protector of the Kșetra or the area, was inducted in Jaina pantheon in c. 11th century A.D., as evidenced by his mention in the Svetāmbara text Nirvāņakalika. The Svetämbara text Acāradinakara (A.D.
1412) refers to sixty-four Yoginis and eight Bhairavas (including Ananda Bhairava) which surround the kşetrapāla, who has been accorded an honourable position in Svetāmbara Jaina worship.
The Nirvāņakalikā visualizes Kșetrapāla as having different names based on their respective Kșetras. According to the text, he has six arms and dreadful appearance, long teeth and dishevelled hair (barbara keśa). The naked Ksetrapala sits on päduka and holds mudgara (club), noose and damarü in his right hands while the corresponding left ones carry chain (to which the dog mount is fastened), goad and staff (gedikā). It is surprising to find the Svetāmbara text Nirvāņakalika as referring to kşetrapala as nude. However, the other Svetämbara text Acăradinakara is silent on this point. The Ācāradinakara conceives the twenty-armed Kşetrapäla with long-matted hair and as wearing the sacred thread (yajñopavita) made of Vasuki-nāga and lion-skin. The Kşetrapäla holding different weapons has corpse (pretāsana) and dog as vāhana. (Acāradinakara, part II; Pratisthādhikāra, pp. 180).
The rendering of Kșetrapala was more popular at the Digambara Jaina sites at Deogadh and Khajuraho. The figures of Kșetrapāla from the Svetambara sites are meagre and are found mainly at Sevadi (Mahavīra temple, Pali - 9th century A.D.), Kumbharia (Santinätha temple - 11th century A.D.), Vimalavasahi (cell No. 22) and Taranga (Ajitanātha temple - 12th century A.D.). The figures carved on Mahāvīra temple at Sevadi and Ajitanātha temple at Taranga show the two-armed kşetrapala with dog vāhana and as holding club and snake in his two hands. In case of Sevadi temple, he is nude as well. The figure of four-armed Kşetrapāla from Vimalavasahi (cell No. 22) has close semblance with the prescription of the Nirvānakalika. Kşetrapāla with frightful appearance and three-headed snake canopy has a snake entwining the neck. The deity wearing a wooden sandal is accompanied by a dog and carries staff, damarü, shield and skull-cup in his four hands.
It may be noted that although the iconographic
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