Encyclopaedia of Jaina Studies Vol 01 Jaina Art and Architecture

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

Page 364

CHAPTER XII
BAHUBALI, BHARATA MUNI AND JĪVANTASVĀMĪ IMAGES
The present chapter discusses about three different forms of images, namely Bahubali, Bharata Muni and Jivantasvami Mahavira which were very popular in Jaina art and tradition.
austerities of Bahubali inspired both the Svetambara and the Digambara Jainas to worship him, specifically the Digambaras. Bahubali, as a result, became a powerful symbol as well as a material image evocative of the ethos of tyaga (self-sacrifice), sadhana (austerity) and ahimsa (non-violence) preached by the Jinas. It is further believed that Bahubali perhaps was the first to have propounded no-war policy by preferring duel to battle between the armies to avert violence and killing in war. The entwining creepers and the figures of scorpions, lizards and snakes on the body of Bahubali perhaps also symbolise the intimate relationship between man and nature and their coexistence.
BAHUBALI
Bahubali, also known as Gommatesvara in the southern Jaina tradition, was the second son of Jina Rṣabhanatha, born of his junior queen Sunanda. His step-brother Bharata, who became Cakravarti succeeding his father, ruled from Vinītā (Saketa or Ayodhya), while Bahubali was ruling from Takṣasila (or Podanasa or Podanapura according to the Digambara Jaina tradition). Soon after the renunciation of Ṛsabhanatha, Bharata began to subdue the various kingdoms and principalities (of Bharatavarṣa) and according to the Law of the Discweapon (cakra) had the need even to subdue Bahubali and his other 98 brothers. Except Bahubali, all his brothers surrendered their domains and became recluse. Consequently a fierce duel took place between Bharata and Bahubali for trial of strength in which Bahubali emerged almost as victor. At the final moment of his triumph, the reality of the futility of worldly possessions dawned in Bahubali's mind and he consequently renounced the world for attaining omniscience and hence salvation. As an ascetic he performed very rigorous austerities by standing in the kayotsarga posture for a whole year and attained kevalajñāna.
To suggest his rigorous tapas, Bahubali in visual representations is shown not only in the kayotsargamudra but also with creepers entwining his limbs, and snakes, lizards and scorpions shown either nearby or even creeping over his body. These representational characteristics suggest the long passage of time in which he was absorbed in tapas and deep trance. The posture of Bahubali is symbolic of perfect self-control while his nudity implies total renunciation. The profound
The earliest reference to the fight between Bharata and Bahubali is noticed in the Paūmacariya of Vimala Sūri (A.D. 473), the Vasudevahindi and the Avasyakaniryukti (c. early sixth cent. A.D.). The Paumacariya (4.43-55), although alluding to the renunciation of Bahubali and his attainment of kevala-jñāna, does not mention the details concerning creepers, reptiles etc. that crept on his body. The detailed account of the tapas of Bahubali is narrated in the literary works of the southern Jainism, from seventh century A.D. onwards, namely the Padmapuraṇa of Raviṣena (A.D. 676Vol. I, 4.74-77), the Harivamsa Purana of Jinasena of Punnata-samgha (A.D. 783-11.98-102), the Adipurāṇa (Mahāpurāṇa) of Jinasena of Pañcastūpanvaya (after A.D. 837-36.104-186), and also the northern works such as the Trisastiśalākāpuruṣacaritra of Hemacandra (c. mid 12th century A.D.) and the Caturviṁśatika-JinaCaritra of Amara Candra Suri (13th century A.D. - 70.367-396) which invariably refer to the meandering and entwining vines and serpents (Padmapurāṇa- 4.76; Harivamsa Purana-11.99-100). The association of deer and elephants, hawks and sparrows, lizards and scorpions with Bahubali is also envisaged by these texts.