ISJS Jainism Study Notes E5 Vol 04

Author(s): International School for Jain Studies
Publisher: International School for Jain Studies

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disc, mace, conch), apparently representing Shiva and Vaishnavi.20 In one of the ceilings of the Santinatha temple at Kumbharia the figure of Chakreshvari is labelled as 'Vaishnavi'.
The figures of Saptamatrikas, who find no mention in Jaina works, were also carved, as found in some instances from Mathura, Gyaraspur, Vimalvasahi and Khandagiri. These figures are usually carved in the parikara of Ambika images [Mathura Museum), while at Khandagiri [Navamuni Gumpha - 11th century CE] they are carved with the Jinas as yakshis, albeit with the features of Indrani, Kaumari and other Matrikas. Some figures of several such unidentified deities, mainly the female ones, at the prolific Jaina sites Vimala Vasahi, Luna Vasahi and Kumbharia have been discovered. Most of the deities in such cases show the influence of the Brahmanical Goddesses. Vimala Vasahi alone has 16 such goddesses, mounted on a bull and either holding a trishula or a sarpa, or a trishula in both the hands, which has a distinct Shaivite stamp. To suggest his rigorous tapas, Bahubali has not only been shown in the kayotsarga-mudra but also with creepers entwining him, as exemplified by the finds from Deogarh, Khajuraho, Bilhari, Ellora, Shravanbelgola [CE 983], Karkal (CE 1432) Venur (CE 1604], as in the museum of India and united Kindom and in some paintings. The long span of time during which he was absorbed in tapas ans in deep trance has been represented by snakes, lizards and scorpions either near him or creeping over his body. The posture of Bahubali is symbolic of perfect self-control, while his nudity implies total renunciation. The profound austerities formed by Bahubali inspired both the Svetambara and the Digambara Jainas to worship him, specially the Digambaras. As a result, Bahubali became a powerful symbol and also a materialistic image, evocative of the ethos of self-sacrifice and ahimsa, as preached by the Jinas. It is further believed that Bahubali was perhaps the first to propound the policy of no war, preferring a duel to a battle between the armies. The entwining creepers and the figures of scorpions, lizards and snakes on the body of Bahubali perhaps also are symbolic the intimate relationship between man and nature and their rhythmic coexistence. Gradually, the popularity of Bahubali worship reached to such heights in the Digambara sect that a cult around him almost formed. The invariable features of the Jina images like the astapratiharyas and the shashana devatas were also associated with him to project his project his status, equaling him to the Jinas.
References: 1. Epigraphia Indica, Vol. I, II [for inscriptions), VI, XXI, XXIX, Vol. II, Inscriptions V, XVI,
XVIII, XXXIX, New Delhi, pp. 237-40; - P.C. Nahar: Jaina Inscriptions, _Vol. I, Calcutta,
1918, pp. 192-94, 233 [inscription 898): 2. J. Marshall: Mohenjo Daro and the Indus Civilization, Vol. I, London 1931, pl. 12, figs.
13, 14, 18, 19, 22, p. 45, pl. 10 - R.P. Chanda: Sindh Five Thousand Years Ago, Modern
Review, Vol. LII, No. 2, August, 1932, pp. 151-60. 3. U.P. Shah: Beginning of Jaina Iconography, Bulletin Museums and Archaeology in U.P.
No. 9, Laucknow, June, 1972, p. 2. 4. For details consult: U.P. Shah: A Unique Jaina Image of Jivantasvami, Journal Oriental
Institute, Vol. I No. 1, Baroda, Sept., 1951 (1952), pp. 72-79; - U.P. Shah: Side Lights on the Life-time Sandal-Wood Image of Mah vra_Journal Oriental
Institute_Vol. I, No. 4 Baroda, June 1952, pp. 358-68; M.N. Tiwari: Jivantasvami Images - A Study in Concept and Iconography, Proceedings
Indian History Congress - 54h Session_[1993], Delhi, 1984, pp. 847-56. 5. U.P. Shah: Akota Bronzes, Bombay, 1959, pp. 26-28, pl. pa & b, 12a 6. J.C. Jain: Life in Ancient India as Depicted in Jaina Canons,_Bombay, 1947, pp. 252,
300, 325. The earliest literary references are found in the Vasudevahundi_(c. 610CE]. 7. Trisastisalakapurusa-charitra: 10.11. 379-80. 8. K.P. Jayaswal: Jaina Image of Maurya Period, Journal Bihar, Orrisa Research Society,
Vol. XXIII, Pt. 1. Patna, 1937, pp. 130-32. 9. The Ayodhya excavation has yielded a terracotta figure of c. 3rd century BCE that is taken to
be the earliest Jaina terracotta figure so far unearthed in India; 10. D.C. Sircar: Select Inscriptions Vol, 1 Calcutta, 1965, pp. 213-21. 11. U.P. Shah: Studies in Jaina Art. Varanasi 1955, pp. 8-9
-H.K. Prasad: Jaina Bronzes in the Patna Museum, Mah v ra Jain Vidyalaya Golden Jubilee Volume _Bombay 1968, pp. 275-80. -The image in the Patna Museum is procured from Chausa in Bhojpur district of Bihar
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