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464
TAE INDIAN ANTIQUARY.
[DECEMBER, 1903.
Indra is as prominent in Jaina as in Bauddha mythology, if not more so; and with his consort Indrant is frequently figured on the lower jambs of doorways of temples, whilst larger figures of Yakshas and Yakshiņis are represented as guards at the entries of the shrines. The Navagraha or 'nine planets' are frequently represented at the foot of the dsanas of Jaina images; and Dikpålas or Dikpatis, Khêtarapalas, Lôkapalas, Yöginis, Jõâtidêvatâs, Hanuman, Bhairava, &o., all have representations about their great temples.
Omkara, Hrin kara, &c. In Svêtâmbara temples, as well as in those of the other sect, certain symbolical figures are employed, of which two of the more frequent in Svêtâmbara shrines are represented on Plate iv,
The syllable ôh, as is well known, is regarded by Brahmans as symbolical of their Triad, and is analysed into a (Vishnu) + # (Siva) + s (Brahma); the Jainas separate it into five elements, viz. -a + d + 8 (or a) + # + it, which form the initials of their five sacred orders, (1) Arhal, (2) Acharya, (3) Siddha, Asarira or Apunarbhava, (4) Upadhyaya, and (5) Muni.? This symbol is often represented in coloured marbles, inserted in panels on the inner walls of the temple mandapas, and is known as Omkara. The figure (Pl. iv.) is not very like the modern written form of the syllable on: it consists of a small ciroular piece of black marble, representing the anusvára, under which is a crescent of yellow stone, and the letter d (or 6) is represented by a broad vertical line turning to the left below, of black marble, with two horizontal bars, the upper red and the lower yellow, joining the vertical from the left. In a vertical line, upon these elements, are placed five small figures of seated Jinas, usually made of rock-crystal, to represent the five grades of attainment. Thus on the curve at the foot of the vertical stroke is the Muni; on the lower or yellow horizontal bar is the Upadhyaya; on the red bar is the Siddha ; on the yellow langle is the Acharya; and on the black axusvára is the highest or Arhat.
The Hrinkara is a similar conventionalized representation of the syllable hrin in coloured stones (Pl. iv., last fig.). The anus dra is black; the landle ander it is white; the upper horizontal bar is red; the upright vowel stroke on the right side is blue, and the rest of the symbol is yellow. On this is represeated the treaty-four Jinas by very small figures: the two black ones, Munisu vrata and Nêmi, are placed in the black anu8vdra, the two white, Chandraprabha and Pashpadanta, on the white crescent; the two red-complexioned Jinas, Padmaprabha and Vasupujya, on the red, apper horizontal bar; the blue, Malli and Paráva, are placed on the blue vowel stroke - one opposite the end of the red upper bar, and the other opposite the lower return line of the h. The rest of the Jinas were all golden or yellow coloured, and their figures are disposed thus; six on the upper horizontal line of the letter h, one at the turn downwards, six on the lower return horizontal, one on the down-turned point of it, one on the vertical stroke of the ri, and one on the horizontal part of the same. Thus the twenty-four Tirthakaras are represented by the colours of the materials to wbich they are respectively affixed.
The Siddbachakra is a square brass plate, found in the shrines. It has a sort of spout in front, to allow water to run off; the centre is carved as a patera -flower-shaped, with a centre and eight petals. In the centre and on four of the alternate petals are small images as in the Omkâra ; the centre is occupied by the Arhat; the back petal by the Siddha image; the right hand by the Acharya ; the left by the Sadhu or Muni; and the front, next to the spoat, by the Upadhyaya. The other four places in the circle are filled thus : on the left of the Siddha is Tapas (ascetic practice), on the right Darsana (worship), on the left of the Upadhyâya is Charitra (conduct), and on the right Jndna (knowledge).
The Panchatirtha is a plate of metal or stone with fire images upon it, as on the Ońkara; and the Chauvibvata is a slab, usually of marble, carved with representations of the twentyfoar Tirthakaras.
1 Conf. Ind. Ant. Vol. XIII. p. 279. In the two figures on Plate iv., the colours are represented as in heraldry,
