________________
210
INTRODUCTION TO JAINISM
Long after the Harappan period, in the fourth century BC, there was a schism between the nude Digambaras and those who became the white-dressed Śvetambaras. The Śvetambaras "converted” many nude statues by removing their genitals. At the same time the marble art jumped ahead. At the time of the (European) Middle Ages one made astoundingly rich ornamentation, and the images were surrounded by marble celestials. Most Svetambara temples represent this lavish form of art, as can be seen at the temples of Dilwara on Mount Abu and Ranakpur (both in West Rajasthan) which are well-known to foreign tourists. The same trend was followed in the temples of pink sandstone in Khajuraho of which no square inch is left without decoration. Celestial beings were also depicted with mudras (hand postures). This tradition continues until today in all its splendor, as evidenced by temples in new housing development areas (photos 29 and 30).
Regrettably the Jains themselves show little interest in their cultural heritage in stone. They attach value primarily to a number of places of pilgrimage where, apart from the icons, almost nothing can be seen of the glorious past which is now threatened by renovations.
Note: Shortly after I met her Dr. S.R. Jain went on an excursion within the framework of her research to “Virgin Rocks in India” and I joined her as a photographer. The information used in this chapter was written by her and used with her permission. - RJ.
For much more and deeper information about these subjects see the following books by Dr. S. Rani Jain: The Key Indus Rock of Karnataka, 2003”. The Ethical Message of Indus Pictorial Script, 2002 94 The Harappan Glory of Jinas, 2001 95
Jain Education International
For Personal & Private Use Only
www.jainelibrary.org
