Jain Journal 1976 04

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

Page 25

APRIL, 1976
153
the popularity of Jainism in north Bengal Hiuen--sang in the seventh century A.D, also conveys a valuable description.
In view of the flourishing condition of Jainism in Bengal through the ages the need of survey of Jaina iconographic sculptures in the country may be felt with due regard to the subject. Besides the importance of Jaina sculptures found in the western region of Bengal which have already drawn attention of archaeologists, the comparable findings in the eastern part of the country represented by Bangladesh require to be evaluated in the general perspective. It may be observed in this connection that the repertory of ancient Jaina sculptures from Bangladesh published in these pages were discovered in its regions where the followers of the religion of the Nirgrantha were ceaseless in their devotion in the past. According to a Jaina tradition contained in the Kathākoșa (9th century A.D.) saint Bhadravahu, the preceptor of Candragupta Maurya was born in Devikot the present Bangarh in West Dinajpur district.
Among the Jaina sculptures from Bangladesh the image of Rsabhanatha discovered at Surohor in Dinajpur district is replete with grace and symbolism. (fig. 1) Visualised as seated in a multi-towered temple resplendent with seated Tirthankaras from foundation to pinnacles, Rsabhanatha has the calm dignity of a Jina in his divine grace. Sculpted in accordance of the Pala style of about 10th century A.D. the image from Surohor is an outstanding example of Jaina art in Bengal.
The image of Rsabhanatha or Adinatha standing in kāyotsarga pose from Bhelowa, Dinajpur, belongs to circa 11th century A.D. on stylistic considerations. (fig. 2) Flanked by miniature representations of 24 Tirthankaras standing in kāyotsarga on horizontal terraces the sculpture of Rsabhanatha was a supple volume and grace which display the warmth of Pala style in its height.
The sculpture of Santinatha, the sixteenth Tirthankara, from Mandoil, Dinajpur, is also carved in accordance with the formality of the 11th century A.D. (fig. 3) Flanked by small depictions of Jinas appearing as ornate as a lace-work Santinatha stands with his usual lañchana, the deer. This sculpture may be compared with another image of the same Tirthankara discovered at Rajpara, Dist. Midnapore which is now being preserved in the State Archaeological Gallery, West Bengal.
The Tirthankara probably Candraprabha, standing in kāyotsarga pose from Govindapur, Dinajpur, is indeed another beautiful specimen of Pala art in the 10th century A.D. (fig. 4) Amidst rows of seated