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Iconography of 24 Tirtharkaras
123 Yakşi at the right end while there is figure of Pārsvanātha sitting at the left end. Rşabha here wears a prominent jață on his head. The sculpture may be assigned to the tenth century A.D. It will be seen that the full parikara is not shown here even though the parikara was already evolved. There is another sculpture of Rşabha, a Pañcatirthi, from Jaso in the Allahabad Museum (Museum no. 520), illustrated on pl. CXXI by Pramod Chandra in his Stone Sculpture in the Allahabad Museum. Here we have the two camaradharas, the triple-umbrella, the mālādharas, the simhasana with the dharmacakra in the centre and small figures of the Gomukha Yaksa and Cakreśvari Yakşi at the two ends of the back slab. Here also Rşabha is adorned with a big jață-jūța on his head. The sculpture may be assigned to late tenth or early eleventh century A.D. In this museum is a standing Rşabha from Gayā showing a big jafa.
Another sculpture of Ādinātha with a group of 23 more Jinas hails from Sahet Mahet, the site of ancient Srāvasti. Here also the full parikara is not seen, only two cămaradharas, the halo, the triple umbrella, the elephants and a drum-beater on top of the chatra are shown while the garland-bearers are omitted. Such instances show that even though the eight prātihāryas were known and acknowledged, in actual representations one or more could be easily omitted. Another noteworthy, feature in this sculpture is the omission of the Yakşa and the placing of the figure of akresvati Yaksi on the right end instead of her more common position on the left end. The sculpture is published by B.C. Bhattacharya in his Jaina Iconography, 2nd ed., pl. IV.
B.C. Bhattacharya, op. cit., pl. V, has also published a richly decorated sculpture of Adinatha, in padmāsana, from Tripuri, M.P., now preserved in the Indian Museum, Calcutta. There are prominent hair-locks on shoulders, and an uşnişa but no jață on the head. Two-armed Yaksa Sarvänubhūti is shown near the left end of the simhāsana while the beautiful Yaksi figure on the right end is much damaged.
There is an interesting sculpture of Rşabha from Gyārasapur in the old Gwalior State, M.P. Old Gwalior State was a centre of Digambara Jainas for the area is rich in sculptural finds belonging to this sect. This figure (Negative no. 13/93, Dept. of Archaeology, Old Gwalior State) is noteworthy, firstly because it is group of eleven Tirthankaras and secondly because of the simple parikara containing only the two chowrie-bearers, the triple-umbrella and the simhasana with the Wheel of Dharma. The position of the camaradharas represented as flying in the air is interesting and rare. Sculptures of Adinātha are obtained from several sites in the Old Gwalior State. There is a big figure of Adinātha from Tumain, district Esargadh, which is worshipped as Baithadeva. The simhāsana etc. are very much mutilated but the sculpture is a fine specimen of c. 9th cent. A.D. A black stone image from Golakot in the Gwalior area is a beautiful example of Jaina sculpture, finely carved with figures having graceful limbs delicately modelled (Negative no. 1012 of Old Gwalior State). The Yaksa here is four-armed Gomukha while the figure of Cakreśvari is not fully visible in the photograph. The Jina has a full parikara including a pair of mālādharas, elephants with pitchers, a conch-blower on top of the triple-umbrella, the bhamandala (halo), two câmaradharas standing on elephants, the lion-throne, the dharmacakra, the bull cognizance, the Yaksa and the Yaksi. The Jina sits on an embroidered big round cushion. Marks of lotuses are visible on the soles of his feet and palms of hands. Compare Klaus Bruhn, The Jina Images of Deogarh, figs. 187-8, 211-13.
A sculpture in the Gwalior Museum shows Rşabha in padmāsana with uşnişa on head and hair-locks on shoulders. The dharmacakra in the centre of simhāsana has a female devotee on each side. There is no lañchana. Beautifully modelled figure of the Jina is attractive (Gwalior Museum no. 5/C 20, DGA's neg. no. 1573/63). The sculpture dates from c. 9th cent. A.D. and probably came from Vidiśå. Another beautiful sculpture in the Gwalior Museum is a Covisi of Rsabha sitting in the padmāsana on simhāsana. The sculpture is partly mutilated, the Yaksa is a two-armed Sarvânubhūti while the Yaksi figure is mutilated (Old Gwalior State Dept. of Arch., neg. no. 63/93). The sculpture dates from c. 9th cent. A.D.
There are over fifty sculptures of Rşabhanātha in the group of Jaina temples at Devgadh. Somes how Rsabha in the kavotsarga mudra with full parikara and Sasanadevatās or with few elements of the parikara and without the Sasana Yaksa and Yaksi. For illustration see Klaus Bruhn, The Jina Images of Deogarh (JID), figs. 44, 81, 82, 83, 86, 87, 88, 94, 95, 97, 108, 257, 258. Similarly we have sculptures with Rşabhanāthe sitting in padmāsana, see, for example, Bruhn, ibid., fig. 24 (showing two-armed Yaksa Sarvinubhūti
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