Jain Journal 1984 04

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

Page 24

136
century specimens suddenly put us face to face with a well advanced iconography and an artistic achievement of highly matured type. Naturally, Jaina and Buddhist art in Bengal followed the same course. Both religious orders flourished in monastic seclutions and monastic establishments developed with the accumulation of grants and properties. The Paharpur inscription informs us of a like establishment flourishing at Vata Gohali. This inscription also specifically mentions of the installation of an image of a Tirthankara at this place. Such Jaina establishments were flourishing in north, west and south of Bengal during the 9th and 10th centuries A.D. There were similar Buddhist monasteries in Bengal and some old Jaina establishments were replaced by Buddhist monasteries as would be evident from the Buddhist monastery of Paharpur. But all old Jaina establishments might not have been replaced by Buddhist monasteries and some new establishments might have also come to flourish during the reign of the Palas who were certainly quite liberal in their outlook. Along with the Palas Buddhism had made a great headway in Bengal and Bihar. Taranath, the Tibetan historian mentioned the names of many Buddhist monasteries existing in eastern India. But during the same time Brahmanism also was making great strides. There was certainly no clash between Buddhism and Brahmanism, otherwise the large number of images surviving from the Pala period could not have been possible. The numerous Jaina images belonging also to this period speak of tolerance on the part of different religious orders which were existing side by side in Bengal who were staunch followers of the Brahmanical creed. There is no evidence to prove any persecution on the part of the Senas upon religious creeds other than Brahmanism but historically speaking both religious orders based on monastic establishments probably had suffered with the rise of this new power. The survival of the Brahmanical religion, however, could not sustain the art tradition of the Pala age for long. Already during the Sena period sculpture was becoming heavy and baroque. But Jaina tradition had not suffered this decay. Whatever Jaina sculpture have survived in Bengal speak of a very lively idiom, rich in concentrated animation. Inspite of the austerity inherent in the creed, the art reveals a purposeful attitude towards life. Warm and vigorous in its appeal the Bengal idiom of Jaina sculpture is definitely different from the styles that flourished elsewhere. Specimens of Jaina art found from Bengal though very few as compared to sculptures belonging to Buddhist or Brahmanical creed will certainly remain as some of the best ever produced by the adherents of the Jaina creed. Bengal will always have these specimens as a proud heritage in the field of art, works of master artists capable of infusing life and rhythm unto the hard body of stone.
JAIN JOURNAL