Jain Journal 2007 07

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

Page 22

R.N.Kumaran&M. Saranya Kumaran:BahubalinofSouth IndiaaandWestIndia
enhance the grace, charm and sublime stance as mulanavaka of a temple. This giantly human exhibits all the Maha-purasha lakshanas. As K.R. Srinivasan rightly points out that the stark nudity of the sculpture indicates with force the absolute renunciation of a kevalin and the strife erectness of the stance itself suggests the firm determination and self control of a Jaina'.
Bahubalin in West India :
In Western India, in most of the temples Bahubalin was shown in panels fighting with his brother and it is even referred to as one of the auspicious events to be depicted in the temples. As far as sculptures are concerned, the jata is reminiscent with curved fingers, Bhamandala with the sharply projecting nipples and Srivasta. The standard artibutes of Bahubalin were the creepers, snakes, lizard, scorpion and also certain deviations in the parikara. The parikara of medieval Bahubalirimages doesn't differ from that of contemporary Jaina images, however like single parasol instead of triple one and prabhavali. The attendant figurines are also peculiar to Bahubalin as the ladies holding the ends of creepers, where the lower part of the creepers takes the shape of a straight tube.
Like that of Sravanabelgola, the sculpture at Karkal is worthy to mention. Although it has the same Ganga influence and was inade of solid rock, the figure is made to lean against the slab which reaches upto its wrist, The round pedestal is sunk into a thousand petalled lotus and the legs and arms are entwined with vines (draksa creeper). The snakes were out of the slab instead of anthill and against the singleness of the sculpture, lack the charm and grace.
Discussion:
The images of Bahubalin are suggestive of the elevation of a man (kevalin) to the point of becoming an object of worship. The earliest reference to the fight between Bharata and Bahubalin is noticed in the works of Vimala suri (AD 473), the Vasudevahindi and the Avasvaka-nirvuki (c.6th cent. AD). The detailed account of the tapas of Bahubali was narrated in the literary works of Southern Jainism,