________________
Jaina Art and Architecture at Mathurā
symbol (called the śrīvatsa mark)142 on the chest of the jina figure was an innovation of the sculptors of Mathurā. This practice became widespread. Mathurā took the lead; the rest of the country followed it.143 Sometimes the sculptors of Mathurā carved the sacred śrīvatsa symbol on the foreparts of the fingers of the jina figure also.144
The jina images of this period have open eyes;145 the eye-balls, too, can be noticed in some of the images of this period. 146 Another remarkable feature of the seated jina figure of Mathurā of this period is depiction of dharma-cakra on the palms and both dharma-cakra and tri-ratna on the soles.147 In the earliest seated jina figures of Mathurā cross-legging is very loose. 148 But the seated jina figures of the Kuşāņa period display padmāsana or tight crosslegging. 149 The seated jina figures of this period bear urna, i.e., the round mark between the eye-brows. 150
Generally speaking, the heads of the seated jina figures of this period are either bald or characterised by small curls. But hair arrangements, like notched hair and hair combed back, can also be noticed in some of the jina figures of this period.151 The seated figure of Pārsvanātha depicted on the Mathurā āyāga-patta assigned to the first century bc is characterised by the absence of nimbus 152 But nimbus became a characteristic feature of some seated jina figures of Mathurā during the Kuşāna period.153 The jina figures
142. MS, p. 23. 143. JPV, p. 80 fn 1. 144. MS, p. 23. 145. MCH, p. 339. 146. Ibid.; MS, p. 23. 147. JUPHS, III, MM nos. B. 3, B. 4, B. 5, B. 27, etc. 148. SML no. J.354, J.609; MCH, p. 335. 149. JUPHS, III, MM nos. 490, etc. 150. Ibid.; MM nos. 1940, etc. 151. MCH, p. 339. 152. SML no. J.253. 153. JUPHS, III, MM nos. B. 71, B. 70, B. 16, etc.
185