________________
Vol. XLI
JAIN JOURNAL
Jain Education International
No. 1 July
STUDIES IN JAINA ICONOGRAPHY
A.K. Bhattacharyya Chapter - II
The Symbolism of the Aṣṭamangala
The aṣṭamangalas represent a group of device in figures of which some are mystic and others stand for objects that are apparently auspicious from their very nature. These are sometimes shown before Tirthankara images on entrance to temples and are regarded auspicious generally, at the beginning any undertaking such as the study of the scriptures etc.. The kind of hieroglyphic art that is associated with representations of this kind is not, however, of any particular religious sect, Brahmanic, Buddhistic or Jain but rather deserves study in the light of the peculiar interpretation given to them in each sect. The vocabulary and the forms were equally accessible to all the sects, the difference only in interpretation. The aṣṭamangala in its present composition in Jain art cannot be traced to a very early period in the art representations although some of the symbols were current as being sacred, from long before the Christian era. As we shall presently see, some of the symbols e.g., the fish can be traced back to even the prehistoric periods of art. So far as the Jain literature is concerned some of the anga text notably the Aupapātika Sūtra refers to the group containing all the eight that we find depicted today. The Aupapatika Sutra, sec. 49, mentions that the eight auspicious symbols (atthamangalaga) are to be shown on the Aśoka tree and enumerates them as Sovatthiya, Sirivattha, Nandiyavatta Vaddhamanaga, Bhaddāsana, Kalasa, Maccha and Dappana. In the Buddhist literature, it is interesting to point out, the mangalas as abstract merits numbering 37 were formed into a chant the reciting of which would bring considerable virtue and religious proficiency".
41. Khuddakapatha, Mangala Sutta.
2006
For Private & Personal Use Only
www.jainelibrary.org
