Encyclopaedia of Jaina Studies Vol 01 Jaina Art and Architecture

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

Page 367

Bahubali, Bharata Muni and Jivantasvämi Images
345
The other painting from Devasanapada Bhandara (A.D. 1475) is preserved in National Museum, New Delhi (Acc. No. 70.64). These paintings represent Bāhubali as usual in kāyotsarga-posture with lower garment along with the flanking figures of two sisters-Brāhmi and Sundari. These figures are preceded by the scene of fight between Bharata and Bahubali. In case of National Museum painting Bahubali is shown with bracelets and armlets like ornaments which is something unusual and which can be explained, as says U.P. Shah, that these are shown because Bahubali stood in meditation on the battlefield itself. Moti Chandra in his Book entitled Jaina Miniature Paintings from Western India has also published a wooden painted book cover from a palmleaf manuscript depicting the fight between Bharata and Bāhubali and the tapas of Bahubali.
BHARATA MUNI Bharata occupies an exalted position among both the sects of the Jainas. His name was included in the list of the 63 Salākāpuruṣas, Great Men, of the Jaina pantheon as early as in the early centuries of the Christian era, or even earlier. Bharata, first of the twelve Cakravartins, was the elder son of the first Jina Rşabhanātha. He was born of Sumangalā. He became Cakravartin succeeding his father and ruled from Vinita. The story of the life of Bharata and his fight with Bahubali and his renunciation is dealt with at length in a number of Svetämbara and Digambara Jaina works of the early medieval times.
The Jaina tradition has always attached a special significance to the act of austerity. It is for this reason that Bharata was invoked and held in veneration only when he renounced all the material possessions and took the path of austerity and performed rigorous penance, consequently obtaining omniscience (kevala- jñāna). As all the Tirthankaras and other Great Men performed tapas in the käyotsarga-mudrā, so also did Bharata. He too stood in the kāyotsarga-mudrā with both his hands reaching up to the knees. Bharata possessed Navanidhis (nine treasures) and fourteen Ratnas (Jewels).
The nine treasures have the following appellations - Kāla, Mahākāla, Naissarpya, Panduka, Padma, Māņava, Pinga, Sankha and Sarvaratna. On the other hand, the fourteen jewels comprised the Cakra, the Chatra (Umbrella), the Asi (sword), the Danda (staff), the Maņi (gem), the Carma (skin), the Käkini (cowrie), the Senāpati (general), the Grhapati (steward), the Elephant, the Horse, the Stri (woman), the Purohita (priest) and the Engineer (or Carpenter) (Mahāpurāņa - Vol. I, Pt. II, 37.73-74, 83-84). The Jaina works explicitly mention that Bharata attained Lordship over mankind and always shone with these fourteen jewels and nine treasures.
After his digvijaya, Bharata asked his 98 brothers to treat him as Cakravartin, who on the advice of Rsabhanātha renounced the world and turned ascetics. Similar request was advanced to Bahubali, the second son of Rşabhanātha, who, however, refused to accept the supremacy of Bharata. Consequently a fierce struggle broke out between Bharata and Bahubali. This battle culminated in duel in which Bāhubali emerged as the victor but he at the moment of his success decided to renounce the world.
One day when Bharata Cakravartin was looking in the mirror, the idea of futility of worldly possessions and lust for sensuous pleasure came to his mind and he at once decided to quit the world in quest of kevalajñāna. When Indra (Sakra) came to know of this, he paid homage to Bharata who, like the Tīrthankaras and other Great ones, plucked out all his hair in five handfuls and performed tapas and attained omniscience. It is clearly stated in the Mahapuräņa that Bharata prior to renunciation was worshipped only by the kings of his country but after renunciation he attained Lordship over three worlds and was worshipped even by Indras.
Bharata in sculptural renderings was shown only in the 10th century A.D. However, the concrete representation of Bharata was more popular with the Digambara sect. At Svetāmbara Jaina sites, Bharata is represented only in the narrative panels, exhibiting the scene of fierce fight between Bharata and Bāhubali.
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