Encyclopaedia of Jaina Studies Vol 01 Jaina Art and Architecture

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

Page 372

350
Encyclopaedia of Jaina Studies
their apportioned seats to listen to the first sermon of Kumbharia (Santinätha and Mahāvīra temples) and the Jinas. Each of the 24 Jinas delivered his first sermon Delvada (Vimalavasahi and Lüņavasahi) Jaina temples, in the samavasarana after attaining omniscience. The the rendering of the circular samavasarana with three belief is common to both the sects. The Svetāmbaras ramparts and a figure of the seated Jina at the top is describe samavasarana as the work of Vyantara gods invariably found in the midst of the narratives (Pañcaat the command of Indra, while the Digambara texts kalyāņakas) from the lives of Rsabhanātha, Sāntinātha, (Adipurana) mention that Indra himself was the architect. Neminātha and Mahavira. Some independent sculptures It is special structure usually with an elaborate circular are also found from Vimalavasahi (cell No. 20), hall with three fortifications. Detailed descriptions of Kumbharia (śāntinātha and Mahāvīra temples), Cambay samavasaraņas are found in the Jaina Purāṇas of both and Marwar (now in a Jaina shrine at Surat) (Pl. 220). the sects, most elaborate of all such references being the samvasarana is important not only from the available in the Trișaștiśalākāpuruşacaritra (parva ), viewpoint of Jaina iconography but it does also provide 1.3.421-77) and the Adipurāņa (22.76-312)
some important socio-religious concepts of basic The textual descriptions of both the sects agree harmony among all the worldly creatures - men and in broad outline, viz. a central pavilion for the Jina animals. It is the place where the Jinas give their first placed on a big platform, and surrounded by three sermons where not only the gods and goddesses and different fortifications, each having four archways on human beings are present but also the animal world. four directions. Originally the conception of the The Adipurāņa says that the Vyantara-devas instal the samavasarana seems to be circular in plan and the figures of the selfsame Jina on three other sides to square plan seems to be a later conception. It is likely facilitate the devotees and audience sitting all around that the samavasarana has for its prototype the big stūpa the circular congregation hall. The impact of the sermon (the harmikä of stupa may be compared with Gandhakuți of the Jinas is also suggested symbolically by way of or Devacchanda-pitha of the Jina) surrounded by a showing different animals of natural enmity as sitting circumambulatory path with a small railing reached by together at one place. The texts as well as visual a flight of steps. At a lower level or on the ground representations show the animals like lion-deer, lionlevel running around this central structure and at some elephant, snake-mongoose and peacock-snake, sitting distance from it is the bigger railing (a sort of rampart) face to face. What else could be the better impact of with ornamental torana-gateways. If we add to this a the sermons of the Jinas than to give a message of third similar rampart, we get the plan of the mutual understanding and harmony for all the creatures. samavasarana.
ASTAMANGALA In the Kalpasūtra miniature samavasarana is The astamangalas or eight auspicious objects are generally represented as circular and occasionally as familiar to Jaina worship from ancient times. They are square in plan. The wall and ceiling paintings at Svastika, Srivatsa, Nandyāvarta, Varddhamānaka, SarāvaTirumalai (North Arcot district - c. 11th century A.D.) sampuța (or Powder flask), Bhadrāsana (throne, a also contain a representation of the samavasarana in the particular type of seat), Kalasa (the full-vase), Darpaņa usual form of a wheel. The representation of (mirror) and Matsya (or Matsya Yugma - pair of fish). samavasaraṇa was more popular at Svetāmbara sites as These are often referred to in Jaina texts, including well as in Svetāmbara paintings from about c. 11th canonical works, as decorating tops of architraves or century A.D. onwards. In the ceilings of both the ramparts, or placed on Caitya-trees, or platforms or
Jain Education Intemational