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Appendix II LIFE OF TĪRTHANKARAS IN PAINTING
namely Mahavira, Santinātha and Pārsvanātha. Two long woo wooden book covers of a palm-leaf manuscript painted with a series of scenes from the previous existence and the last existence of Säntinātha are preserved in Dehlanä Upāśrayano Bhandāra, Ahmedabad. The paintings covering all the four sides of these two long pattikäs were done in Jalor (south-western Rajasthan) in the 13th century A.D. The scenes include the incident of Megharatha offering his whole body to save the life
The Tirthankaras known as Jinas or Arhats, occupy the supreme place of veneration in Jainism. The Abhidhana-Cintamani of Hemacandra refers to the Tirthankaras under the category of devadhideva (god of gods). Different texts discuss the iconography of Tirthankaras. The Brhatsaṁhita of Varahamihira says that the Tirthankaras should be represented with the arms reaching the knees and frivatsa mark on the chest. They should be young and beautiful and should have a peaceful countenance. The Tirthankaras wear no garment. The Digambara text Pratisthāsāroddhāra of Asädhara (A.D. 1228) refers to that the eyes of the Tirthankara should be centred on the tip of his nose and he should be accompanied by the eight prātihäryas. In both the sects - Svetämbara and Digambara the Tirthankaras are described in both poses - standing (kayotsarga) and sitting in the dhyāna-mudra with hands resting one upon the other on the lap, with palm upwards (Pls. 259, 288). They sit either in the padmāsana posture or in the ardha-padmasana (mostly popular in south India).
The images of Tirthankaras were made of gems, metals, wood, clay, stone etc. However, in paintings the lives of Tirthankaras are painted in scrolls, manuscript illustrations, murals or frescoes and wooden book-covers of Jaina manuscripts. It is believed among the Jainas that such paintings should not be worshipped in houses. Tirthankaras are given a prominent place on cloth paintings, representing various Jaina Tantric diagrams and in citra-patas. In scroll paintings their lives are painted in details and in narrative manner. They are also shown on the vijñaptipatras. One such example from the Digambara collection of Karanja shows the narrative from the life of Neminätha.
Some of the wood-covers depict scenes from the previous as well as last existences of Tirthankaras,
In one such scene Sāntinātha in one of his previous births as king Megharatha offers his whole flesh to a falcon in order to save the life of a dove who sought refuge with Megharatha. This is a famous ancient theme popular in the Brahmanical as well as the Buddhist and the Jaina literatures. In Brahmanical legend king Sivi protects the dove by offering his whole body to be weighed in balance against the body of the dove. In Kumbharia and Vimalavasahi we do find this scene in the life scenes of Santinatha.
The life scenes of Neminātha, Pārsvanātha and Mahāvīra have also been a favourite subject on wooden book-covers (see for detail Chapter xxi pp. 408-409 Patali. Pl. 287). A set of such wooden book-covers show in a row the 24 mothers of Tirthankaras of this age. another shows 16 Mahävidyās of Jaina Tantric worship.
In the palm-leaf manuscripts, executed between A.D. 1060 to roughly A.D. 1350, the Tirthankaras are represented with gods and goddesses, monks, nuns etc. The appeal of the Jina figures is more or less iconographic. In full accordance with the simplicity of the subiects. the attitudes and poses are also limited and strictly conventional. The Tīrthankaras seated with their legs crossed are shown in full view. Sometimes both the legs are lowered and rest on a foot-stool and
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