Jain Journal 1984 04

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

Page 65

APRIL, 1984
169
hands, legs and body form of these sculptures displays stiffness. The visual presentation of the half-closed eyes due to the drooping upper eyelids, closed mouth with protuding lower thick lip and the facial expression convincingly point towards the meditation and concentration of mind which leads to mokşa (absolute liberation). The shining face indicates his abstinence from mundane affairs and attainment of kevala jñāna. In this regard the artist unmistakably showed mastery in successfully carving the sculptures with spiritual squareness, lest with aesthetic beauty and lyrical grace. But the grossness of the sculptures proves that sculptors devoted more attention to their ritual. The artists lavished most of their skill to visualise the taciturnity and yoga mudrā of the sculptures and hence delineated them most simplisticly without affixing much decorative motifs on the stele. Yet they all are correct in liturgical treatise. The Golamara broken Mahavira (fig. 4) has a classic grandeur in conformity with the silpa text. Today people of Hindu faith has accepted and worshipped these deities in most of the places as Hinduised icons without knowing that these are Jaina images.
[ I greatfully acknowledge the help of Shri Pratip Kumar Mitra, Registering Officer, Directorate of Archaeology, Government of West Bengal, Western Circle, Burdwan for photographing the sculptures reproduced here and for his indomitable encouragement, and of Dr. Asok Kumar Bhattacharya, Lecturer, Department of Geology, Jogamaya Devi College, Calcutta for identifying the material of the sculptures. ]
References
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Banerji, R. D., Eastern Indian School of Mediaeval Sculptures, Rama
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Bhattacharyya, B. C., The Jaina Iconography, Motilal Banarsidass,
Lahore, 1939.
Bhowmick, Atul Chandra, 'A Note on Jaina Sculptural remains at
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