Jain Journal 2014 07

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

Page 74

Dr. Renuka Porwal : Ancient Jaina Art and Architecture
Harappa is analogous in style to the Morya polished (like Ashoka's pillar). torso obtained from the plinth of an ancient Jaina shrine, Lohanipur at Patanā. This indicates that the construction of Jaina shrines and images were already in vogue in Morya period. The indicates that the construction of Jaina shrines and images were already in vogue in Morya period. The close similarity in both statues except two circular marks on Yakṣa image establishes the continuity of an Indian art down to the Morya period'. A standing image of Pārsvanātha in bronze with a primitive look in P.W. Museum (accn. B. 32) Mumbai, is very close in style with the terracotta figure from Mohan-jo-daro?. The Jain art is based on religious principles like non-violence, spirituality, and austerity. The Bahubali image is the best example of showing extreme austerity/Tapa performed by him in his life time displayed through the creepers entwined around his arms and legs. The anthills, creepers, snakes, lizards and plants suggest human coexistence with nature. As a rule Jina images are carved in two postures only-- 1. Padmāsana or Ardhapadmāsana. 2. Khadgāsana. These both Yogic postures suggest severe austerity.
They are depicted as a single Jina, Dvitirthi- having two Jinas on a stele, Tritirthi-Sarvatobhadra, Panchatirthi, and Chobisi-24 Jinas where the centre image is a chief idol. The concept of Sarvatobhadra/ Chomukhaji image is based on two themes ietheri. when the Jina delivers a sermons sitting in Samavasarana or ii. It is established on a pillar to spread auspiciousness in all direction i.e. "Sarvatobhadrāni mukhāni yasya".
Rşabhadeva image is carved with locks on shoulders very often and Pārsvanātha with the canopy of Dharanedra deity to show
1. Dr. U. P. Shah, Studies in Jaina Art, Parsvanatha Vidyapitha, Varanasi, 1955. 2. Ibid.