________________
138
Gommages vara Commemoration Volume
2. A metal image of the Chovisi of Rşabha,
c. 12th century, Deccan-Karnataka style :
This image, about 29 centimetres high, appears to be from the region of the Deccan rather than the Karnataka because, at first sight, it appears to correspond closely to the metal images fashioned for the Svetāmbaras in western India. The decorative devices arranged along the prabhā vaļi reveal the influence of architectural elements. Although this figure shows only eight out of the nine grahas or planetsa characteristic associated with early bronzes- the somewhat stilted style, especially evident in the treatment of the attendant figures, would suggest a date not earlier than the twelfth century.
3. A metal image of the Chovisi of Rşabha,
inscribed A. D. 1216 at Ma]khed :
This image, with a long inscription on its pedestal, is in worship in a Jaina temple at Ajmer. It is a large and handsome object where the architectural conception of the piece as a shrine is rather striking. Unfortunately, the sikhara on top of the prabhāvaļi could not be included in the photograph, already thought an abbreviation and conventionalisation of the lion and the makara motifs is visible. According to the authorities of the temple where this image is installed, the inscription bears the information that this piece was executed in Vira Samyat 1263, at Malkhed. This date corresponds to A. D. 600 which is stylistically impossible. It would seem that the term must not have been Vira Samvat but Vikrama Samvat 1263 which is in perfect accord with the stylistic characteristics exhibited in this piece. The provenance of Maļkhed appears quite convincing.
4. Metal icon of Pārsvanātha,
inscribed A. D. 1718, probably Kolhapur :
This image is 26 cms high. Though late and executed in folkish style it presents an interesting treatment in the depiction of the attendant figures and the serpents on the base. There is a rather laconic inscription in Devanāgari characters and a slightly longer one in Kannada characters on its pedestal. Interestingly, it mentions that the donors belonged to the Pancama caste, a caste associated with the bhajjarakas of Kolhapur. This information, in addition to the fact that the inscription is engraved in Marathi as well as Kannada, goes a long way in establishing Kolhapur as the provenance of this piece. Although Kolhapur may have been in Maharashtra, the bhaffāraka seat here has affiliations to the tradition prevalent in Karnataka, and the cultural ties are stronger with that region rather than northwards towards the Deccan.
Jain Education International
For Private & Personal Use Only
www.jainelibrary.org
