Jain Journal 1984 04

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

Page 62

APRIL, 1984
167
3. Vasupujya (44.3 cms. x 24.1 cms.) at Golamara
Tirthankara Vasupujya (fig. 3), wearing jațā-mukuța stands at samapadasthānaka under a trifoil arch surmounted by a three-tiered chatra on a lotus seat placed on a triratha pedestal. The top of the stele is cut obliquely on both sides to have a triangular shape. The idol is framed by a rectangular border having two conical points and circles, at top of each vertical line suggesting the enthroned Vasupyjya. Strings made of pearl beads hang vertically from the horizontal top of the throne. The chatra indicates the heavenly Kadamba vrkņa under which he received the kevala iñana. On two lateral sides of the twelfth Tirthankara Vasupujya standing effigies of four Tirthankaras in single file, two on each side. Flying vidyādharas with garlands and musical drum and a twig with a kadamba flower and two leaves are on dexter side and on sinister, the vidyādharas with mechanism to show them moving, cymbal and kadamba flower are visible. The presence of kadamba flower indicates that it is an image of Digambara sect. The image is flanked by cauri-bearer Dviprsta-Vasudeva who stands in dvibhanga pose. The triratha pedestal depicts his lāñchana, the mahişa (buffalo) at its middle. It seemingly be dated of about 10th century A.D.
4. Mahāvīra (161.0 cms. x 33.0 cms.) at Golamara
The image of Mahavira (fig. 4), the last of the galaxy of twentyfour Tirthankaras and the senior contemporary of Gautama Buddha is represented standing on a padmāsana with stele and hands broken out, and unfortunately lost for vendalism. Only the tips of fingers are attached to the body of the sculpture indicating kayotsarga pose. The matted locks of hair with pronounced uşnisa, elongated ear-lobs and straight, big drooping eyes are his chief marks of identification. The attitude of the sculpture evinces that the devādhideva is absolutely restrained from rāgas (desires). The hair of the Tirthankara is arranged in short schematic curls which represents the circular form of the universe (loka) as well its beginninglessness and endlessness. The image is flanked by cauri-bearers, who wear a conical mukuta, necklace, armlet and bangle. In two tiered pedestal lions are carved on its upper register. On lower register, from right to left, kneeling male devotee with folded hands, lion, his cognizance and kneeling female devotee with folded palms have beautifully been carved out. The hips of the attendant cauri-bearers being carved in a sensuous modelling in the round calling a glimpse of the South Indian bronze casting. The Mahavira is inscribed on the pedestal and the date of the sculpture may be placed in c. 10th century A.D.
For eye-copy, see, Subhas Chandra Mukhopadhyay, op. cit. Inscription No. 5.