Jain Journal 1976 04

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

Page 26

154
JAIN JOURNAL
Tirthankaras and two attending divinities shown in graceful dvibhanga pose the main image represented by the torso is replete with the accomplished elegance of the early mediaeval tradition.
Two sculptural representations of divine couples with a child from Deopara, Rajshahi, are notable examples of icono-plastic art in the Pala period. (figs. 5-6) One of these shows the couple beneath a tree above which rests a lotus-seat with a meditating Tirthankara identifiable as Abhinandananatha. The upper part of the tree is missing in the second specimen. Such images observed at Deogarh and Khajuraho in Madhya Pradesh and at Pakbirra, district Purulia in West Bengal may represent, as scholars have agreed, a pair like the Buddhist Jambhala and Hariti or the parents of the Tirthankaras. It appears that such kind of statuary was nearer in devotion to house-holders accepting the Jaina faith. While the complete sculpture from Deopara visualises the supple grace of volume, the other one being beautifully polished has the lyrical sensitivity of fluid lines.
The inscribed image of Parsvanatha, the 23rd Tirthankara carved in marble is not far away in age. (fig. 7) Discovered in Dacca the sculpture seemingly belonged to a Jaina establishment. In this connection may be recalled the activity of Jaina merchants in Dacca in the seventeenth century and in succeeding years. Dr. D. C. Sirkar has drawn our attention to an inscription dated Samvat 1732 (1675 A.D.) found in a temple at Patna which “refers to the existence of a flourishing Jaina religious establishment at Dacca". ("Jaina Temples in East Bengal in the Seventeenth Century" in Jain Journal, vol. IX No. 3, January 1975, p. 83).
In the light of the above sculptures it is evident that Bangladesh is rich with treasures of Jaina antiquities. Organised explorations and diggings, it is felt, may bring out such ancient remains from ob
It is extremely pleasant to acknowledge that the photographs published in the article were all very kindly made available to me by Sri Sanjay Kumar Baid. Recently, he widely travelled in Bangladesh to survey Jaina antiquities in museums. I am indebted to him for the information that while the image of Parsvanatha carved in white marble is preserved in the office of the Superintendent of Archaeology, Dacca, the other sculptures belong to Dinajpur Museum, the Varendra Research Museum, Rajshahi and the Dacca Museum. We know from Sri Baid that the sculpture of Rsabhanatha from Bhelowa, district Dinajpur, was saved from destruction by Mr. A. K. M. Zakariya, Secretary to the Ministry of Cultural Affairs & Spo of Bangladesh during the war of liberation. The image of Rsabhanatha from Surohor is well-known and a few others had already been published by scholars quite a long time ago. I am thankful to Sri Ganesh Lalwani, Editor, Jain Journal for kindly introducing me with Sri Baid and his valuable materials in respect of Jaina art in Bangladesh.