Jain Journal 1975 04

Author(s): Jain Bhawan Publication
Publisher: Jain Bhawan Publication

Page 18

APRIL, 1975
111
a dedicatory Canarese inscription. On stylistic grounds, the image belongs to Calukya period, 9th-10th century A.D.
The bronze image of an unidentified Tirthankara is an example of late Calukya period, c. 13th century A.D. (No. 64.444; ht. 20.5 cms.; pl. 3). The great master is shown standing in all his sublimity in kāyotsarga-pose with his hands hanging along the sides. His hair is arranged in spiral curls. His calm and serene face, elongated ears, long hanging arms, youthful body with broad shoulders and nudity are some of the worth-noticing features in this image. Like almost all the images of Tirthankaras from South India and the Deccan, the śrīvatsa mark is absent in this icon also. It will be interesting to observe that this particular mark, which has also been referred to by Varahamihira (Bịhatsaṁhitā, 58.45) is invariably depicted on the chest of a Tirthankara image from North India. As the symbol of the deity is not depicted, it is not possible to identify the Tirthankara.
Ambika, the Yaksini of Tirthankara Neminatha, is regarded as one of the most important Jaina goddesses. She is generally identified by a bunch of mangoes in her one hand and a child in the other. Her vehicle is a lion. An image of the goddess from Karnataka shows her standing in treflex-pose on a lotus under a mango tree ladden with fruits (No. 74.127; ht. 17.5 cms.; pl. 4). Her hair is beautifully arranged in dhammilla fashion and she wears ear-ornaments, necklace and a diaphanous sādi secured with a girdle. She holds a bunch of mangoes in her right hand, while the left forearm is damaged. The goddess is flanked by her two sons, who are mentioned in the Sri-Purāna as Subhainkara and Prabhainkara. Her son on the right side rides on a lion, the vāhana of the
ss, as also shown in almost a contemporary bronze image from Karnataka presently exhibited in the Los Angeles County Museum of Art, Los Angeles (No. 72.1.12; ht. 24.8 cms.). An image of Neminatha in meditation is shown above the goddess as also shown in the sculptures of this variety from different parts of India. The elaborately carved back-frame of the image datable to the Calukya period c. 12th century A.D. is supported on decorated pillars.
3 P. Pal, The Sacred and Secular in Indian Art, Los Angeles, 1974, fig. 26; The Arts of
India and Nepal: The Nasli and Alice Heeramaneck Collection, Boston, 1966, P. 92, fig. 101. Rene-Yvon Lefebvre d'Argence and Terese Tse, Indian & South-East Asian Stone Sculptures from the Avery Brundage Collection, San Francisco, 1969 p. 56, pl. 63; J. Leroy Davidson, Art of Indian Subcontinent from Los Angeles Collections, Los Angeles, 1968, p. 30, fig. 36 and p. 66, fig. 91.