Jain Journal 1977 07

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

Page 33

JULY, 1977
villagers nor the State Government have taken any measure to preserve this priceless relic of bygone days. The Sarak-Jain Samiti (Kharkhari, Dhanbad) once attempted with proposals for the preservation and maintenance of the antiquities, but failed due to rigidity of conditions on their part, and obstinacy of the villagers not to accept those conditions.
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Immediately beside the 'Kal Bhairava' are other Jaina deities. They may be dealt with separately.
Fig. No. 1. This sculptured stone (35" in height; 17" in width) is of a divine couple seated on a small two pillared cushion or asana; both of them wearing usual jewelleries and are dressed in the lower portion. Their right hands are broken; in their left hands both of them hold a child. Their faces are gleaming with joy. In the centre of the couple there is a tree whose divided bunches of leaves hang over both of them. Just on the division of the tree there is a small male figure. Above it is a Tirthankara seated in lalitasana posture deeply in meditation. On two sides of this figure are two heavenly drums. At the topmost corners of the sculptured slab there are two flying Gandharvas or Vidyadharas.
Just below the hanging right legs of the couple are two kalasas with lids. Under the kalasas, in the first phase of the pedestal are four female figures among whom those two who are in the middle are seated in two cans with child in their hands. Other two are standing with child in their hands.
In the second phase of the pedestal two figures, a male and a female are seated; their heads lowered in veneration. Besides the female figure was a child seated on a lion.
Fig. No. 2. This piece of sculpture (26" in height; 15" in width) except with a few minor alterations is same as Fig. No. 1. Here, only the female figure holds a child in her left arm, who is standing on her lap. At the junction where the tree divides a Tirthankara is seated in dyānamudrā with a divine umbrella overhead. In the lowest part of the otherwise plain pedestal seven male figures are seated with closed eyes and their hands in barābhaya mudrā.
Fig. No. 3. Though basically same in presentation as Fig. No. 1 and Fig. No. 2, this sculpture is not only larger in size, but in artistic craftsmanship it is far more superior to them. Finely and deeply chiselled out figures with minute details and the richly ornamented fringes testify