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Jaina-Rupa-Mandana At Padhavali is a sculpture of standing Sambhava with the figure of his horse lañchana shown on the hanging end of the carpet below the Jina's feet. The simhāsana has the dharmacakra in the centre. There are cámaradharas, fiying mälädharas and a drum-beater on top of the triple-umbrella. No yakşa and yakși are shown; the sculpture can be assigned to eleventh century A.D.
A beautiful sculpture of standing Sambhava from Narwar, Shivpuri district, M.P., is preserved in the Shivpuri District Museum (Acc. no. 3). The sculpture, like the one from Padhävali discussed above, belongs to the Digambara tradition. The very artistic simhāsana of the Jina shows two ferocious lions, and in the centre, in a small niche, is a small figure of a Jina or an acārya in padmāsana with the dharmacakra shown below his seat. On two sides are small figures of male and female devotees with folded hands. At the lower end of the simhasana is the tiny figure of horse cognizance. There is also a DviTirthika image of Sambhava and Nemi standing, from Narwar, now in the Shivpuri Museum.
No. 406. Rani Durgavati Museum, Jabalpur, represents a standing Sambhavanatha, assignable to c. eleventh cent. A.D., from Tewar in the Jabalpur district. The Jina stands on a simhāsana with câmaradharas, ma doares, ple-umbrella, and elephants with kalašas in the parikara but no yaksa and yaksi are shown.
In Orissa, at Khandagiri, caves 7, 8, 9, called Navamuni, Bārābhuji (Fig. 53) and Mahavira gumpha respectively, are in all three rock carvings, one in each cave, of Sambhava sitting in the padmāsana under a triple umbrella and with a standing camaradhara on each side. In one case there is a flying mālādhara on each side of the umbrella while in two cases are cymbals being played by two disembodied hands. The Jina sits on a big full-blown lotus placed above the simhāsana with the horse symbol shown on one side. None of Tirthankaras in these caves have the śri-vatsa on their chests. The Jinas usually have a rather prominent jață top on their heads instead of the usnīşa. In two cases we have a figure of the yakşini of this Jina carved separately below the Jina's figure.
Temples and sculptures of Sambhavanātha are also known from Rajasthan and Gujarat. There is a temple dedicated to Sambhavanātha at Kumbharia. The original image seems to have been mutilated and later replaced by a new one. In Radhanpur, North Gujarat, is a shrine dedicated to Sambhavanātha. According to an inscription on the main image in the sanctum, it was installed in Samvat 1682=1625 A.D. The inscription on the image of Sambhavanātha, in the Mahavira temple at Kumbharia, says that the image was the gift of one śrávikā named Pahini, mother of Bhändägārika Jinduka, (installed) in samvat 1142 - A.D. 1085. In the famous Lūnavasahi temple built by Tejapāla at Delvada, Mt. Abu, are two ornamental niches, khartakas, flanking the gūdhamandapa and placed against its west wall, popularly known as Gokhaläs of Derāni and Jethâni. The image in the proper right khattaka is of Santinātha while that in proper left one is of Sambhavanātha. At Satrunjaya also there are some inscribed stone and metal images of Sambhavanatha.76
In the Digambara Jaina Samgrahālaya at Ujjain there are a few sculptures of Sambhava obtained from places like Sundarsi, Jamner, Badnawar etc. in Malwa region.
in the south, in Karnataka, at Venür, in the set of 24 different Tirthankaras in Jaina temple, we have Sambhava standing under an arch and a triple umbrella overhead, with the Trimukha Yaksa and the Prajñapti Yakşi standing by his sides. The figure of his horse lañchana is incised on the plain pedestal below. In the Bhandara Basti set and in the set of Suttalaya of Gommata we also have sculptures of Sambhava with Trimukha Yaksa and Prajñapti Yakşi standing by his sides near the legs and the horse cognizance carved on the pedestal. These two sets at Sravana Belagola belong to the Hoyasala period.
4. FOURTH TIRTHANKARA: ABHINANDANA
Abhinandana, the son of king Samvara or Svayamvara and queen Siddhārthā of the city of Ayodhyā, was born in the Punarvasu nakṣatra, having descended from the Jayanta Vimāna.77 As he was honoured (abhinandyate) by gods he was called Abhinandana.78
Golden in complexion, Abhinandana became a monk after ruling over his kingdom for some time. and, practising penance, obtained kevalajñāna while meditating under a Piyaka or Piyala (Sarala) tree. 79
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