Jain Journal 1975 07

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

Page 27

JULY, 1975
I may note here in passing that only thirteen out of the twenty-four Jinas were rendered in concrete representations at Khajurahol.
The Jina images of Khajuraho represent a fully developed stage of the Jina iconography. They are carved with all their attributes including the aştapratihāryas and the distinguishing emblems, except in some examples where the figures of the Yakşa-Yakși pairs are conspicuous by their absence. The images of Ajitanatha at the site follow a homogeneous formula of Jina representation, this being the case with all other Jina images of Khajuraho, in effect elsewhere in India also during the medieval period. Ajitanatha has been rendered with the full cortege of their assessory attributes including the aştapratihār; as, śrīvatsa mark in the centre of the chest and the lāñchana, elephant. As to the Yakşa-Yakşī pair, it is surprising to note that their figures have been carved in a single
ance only (K 43). In other instances the Yakşa. Yakşi figures are dropped in favour of the tiny Jina figures. It appears relevant to note here that the iconographic forms of the twenty-four Sāsanadevatās do not appear to have been evolved at Khajuraho. However, the standardized and independent forms of only three Yakşa-Yakși pairs, namely, Gomukha and Cakresvari, Sarvanubhuti (or Kubera) and Ambika, and Dharanendra and Padmavati, the Sāsanadevatas respectively of Rsabhanatha, Neminatha and Parsvanatha, were known to the Khajuraho sculptors. The representation of the aforesaid three pairs even does not correspond fully with any of the available Digambara textual prescriptions.
In three cases Ajitanatha is represented as seated cross-legged with his hands laid in the lap in dhyāna-mudrà on an ornate cushion, decorated with lozenge shape and floral design, and in one case, however, he stands erect as sky-clad in the kāyotsarga-mudrā (K. 22). The standing Jina is shown directly on the pedestal, while in other instances he sits on a lotus placed over an ornate cushion. In two examples the hair of the Jina is dressed in small ringlets with usnīşa at the top, while in one case (K. 22) head is lost. In remaining one instance, the hair is disposed in two parallel rows of curls on the forehead and has been combed back in jatā fashion. The pedestal is borne by round pilasters carved at two extremities, which are absent in one instance (K. 43). The covering cloth
Rsabhanatha, Ajitanatha, Sambhavanatha, Abhinandana, Sumatinatha, Padmaprabha, Suparsvanatha, Candraprabha, Santinatha, Munisuvrata, Neminatha, Parsvanatha and Mahavira. 2 Eight chief attendant attributes are: Asoka tree, scattering of flowers by gods, divine music, flywhisks, lion-throne, nimbus, heavenly drum-beating, and chatra-trayi.