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Jaina Art and Architecture at Mathurā
that the difference between the jina images of the Svetāmbaras and the Digambaras in respect of drapery and nudity did not exist in the Kuşāna period. 121 The jina images of Mathurā of the Gupta period, too, are nude. We have already stated that there is no hint of the split in the Jaina Church in the inscriptions discovered at Mathurā. It is, therefore, reasonable to assume that the points of difference between the images of the Svetāmbaras and the Digambaras are posterior to even the Gupta period.
The lañchanas of the various jinas had not evolved during the Kusāna period. Therefore, it is very difficult to differentiate one tīrthařkara from the other in this huge mass of jina figures. Two factors have helped in the identification of some jinas. Many tīrthamkara images of this period bear inscriptions. Very often the name of the tīrthamkara is also mentioned in the inscription incised on the figure. 122 Such inscriptions have helped in the identification of the jinas whose images were carved at Mathurā during this period. The characteristics associated with the jinas have also helped in the identification of their images. Pārsvanātha has been identified on the basis of the seven-hooded serpent-conopy over his head in the figures.123 Rşabha has been identified on the basis of locks of hair falling on his shoulders in the figures. 124 Neminātha has been recognised on the basis of his representation in the company of Krsna and Balarāma in the figures.125
The inscriptions excavated at Mathurā contain the names of arhats Rsbha, 126 Aristanemi,127 Sāntinātha, 128 Pārsva, 129 Sambhavanātha, 130
121. JI, p. 42; SIJA, p. 11. 122. R.C. Sharma, Jaina Sculptures . . ., op. cit., p. 145. 123. Ibid., p. 145; MS, p. 23; JAA, I, p. 65; JPV, p. 46. 124. Ibid.; ibid.; ibid.; ibid. 125. Ibid., ibid. 126. EI. X, Appendix, no. 56. 127. Ibid., no. 26. 128. Ibid., no. 27. 129. Ibid., no. 110. 130. MCH, p. 357; JAA, I, p. 66 fn. 1.
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