Jain Journal 2001 07

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

Page 24

EKAMBARANATHAN : MAHĀVĪRA IN SCULPTURAL ART-TAMIL NADU
19 of Mahāvira adorn the ascetic abodes at Chettipodavu, Chitaral, Tenimālai, Alagarmālai, Cholāpāndipuram and Vallimālai.
The Chettipodavu specimen, (near Madurai) is a bold relief shown in ardhaparyankāsana with a well-built body, having broad shoulders. It smiling countenance, flaming aureola around the head, charming chauri bearers and Vidyadharas in great adoration and triple umbrella with a finial atop are aesthetically of a high order exhibiting the best traditions of the 9th century Pandya art. The bold and sturdy conception of its physique and horizontality of shoulders are true reflections of Mahāvīra's great strength. It is these qualities that sometimes help in identifying sculptures of Mahavira from that of others from 9th century onwards.
The cavern in the Andimālai hillock at Cholapāndipuram has a seated figure of Mahāvīra carved on the over-hanging boulder. Its stout body and horizontal shoulders reveal its identity. It was known as "Pindikadavul", i.e., one who pursued austerities underneath the Asoka tree. In 952 A.D., Siddhavadavan, a Chedi chieftain, granted the village Panaippadi for the conduct of worship to this Mahāvīra figure.6
A defaced figure of Mahāvira seated on a throne with a trichatra above the head finds place on the eastern face of the Vallimālai cave. Its identity is resolved by the presence of a two armed yaksī, believed to be Siddhayika, on the right side of the cave. These images exhibit the Western Ganga style of the 9th century A.D.
The finest single depiction of Mahāvira adorns the facade of a huge cave on the southern slope of Vallimālai hillock. It is a life-size masterpiece, shown majestically seated in meditative pose and surmounted by a triple umbrella set within a conically cut niche. Its button-studded arrangement of the hair style, smiling countenance, massive body with smooth flowing contour of muscles, half closed eyes suggesting contemplative calmness etc., are splendid and spectacular and illustrate the immaculate workmanship of a mastercraftsman.
Sculptures of Mahāvīra commissioned along with Ādinātha are found in places like Eruvadi, Muttupatti, Melapparaipatti,
5. 6.
P.B. Desai, Jainism in South India and some Jaina Epigraphs. p. 49. ARE, 252/1936-37. I.K. Sharma, Western Ganga Temples of Karnataka, pp. 187-188 (I.K. Sharma's identification of the Yakṣi with Siddhayika is not certain). K.R. Srinivasan in Jaina Art and Architecture, Vol. II, p. 227.
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