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Jaina-Rupa-Mandana
quately establish the character of the indigenous school in and before the Mauryan period. With the group must be associated the Besnagar Kalpavřksa.' Also Chanda, R.P., Four Yaksa Statues, Journal of the Department of Letters, Vol. IV.
Many more Yaksa statues have been published. See Agrawala, V.S., Indian Art, Vol. I.
The Yakşa from Noh dates perhaps from before the Christian era, Agrawala, R.C., Yakşa Torso from Bharatpur Region, Journal of the Oriental Institute, Vol.
17, pp. 64ff. 33. Four Yaksa Statues, Journal of Department of Letters IV.
Banerji, J.N., Development of Hindu Iconography, p. 109. 34. Nišitha Sūtra with Nisitha Cūrni, 11th uddesa, Vol. III,
p. 224. 35. Āvasyaka Cirni, 1, p. 320 and Avašyaka Niryukti,
v. 523. 36. Chanda, R.P., in Memoir, Archaeological Survey of India,
No. 30, p. 7. 37. Aupapātika sūtra, sūtra 2. 38. Bhagavati sutra, 18.2. Visala=Ujjain according to the
Abhidhana Cintanani, 4.42, but in Jaina canons it generally stands for Vaisāli. There it is better to take
Višala =Vaiśāli. 39. Bhagavati, 10.5. A goddess Bahuputrika is also referred
to in the Nirayávalido, III, 4, p. 79. 40. This will be made clear later on. In the earliest repre
sentations of the attendant yaksa pair of a Tirthankara image, the yakşi is certainly Ambika but the name of the
yaksa is not settled and hence these alternative names. 41. In the chapter on Harinegamesin in Vol. II. 41a. A Mapibhadra riding an elephant became very popular
amongst Jainas in Rajasthan and Gujarat during the mediaeval period. Even today he is worshipped in several shrines of Rajasthan, Madhya Pradesh, Gujarat. A legend of his origin is also current amongst the
Svetämbaras. 42. Coomaraswamy, Yaksas, I, pp. 24-26. According to
Manu, XI, 96 meat and intoxicating drinks are the food of Yakşas, Raksasas and Piśácas. For offerings to Yakşa Mudgarapāni, see Antagadadasão, 6, and for those to Püroabhadra and Umbaradatta, see Aupapatika, 2, and
Vipaka, pp. 76ff respectively. 43. The extant Vipäka is a later (revised) text containing
later data, perhaps of the age of second and third councils (Vacană), mixed with some genuine earlier
tradition of age of ganadharas. 44. Shah, U.P., Harinegamesin, Journal of Indian Society
of Oriental Art, Vol. XIX. 45. For Hariti, see Foucher, The Buddhist Madonna and
Tutelary Pair, in the Beginning of Buddhist Art, L'Art Greco-Bouddhique dur Gandhara; Vogel. The Mathura School of Sculpture, Arch. Survey of India, Annual Report, 1909-10, p. 77. Beal, Buddhist Records, Vol. I,
p. 110; Waddell, Lamaism, p. 90. 45a. Ganesa is the son of Gauri or Durga, The Hindu Ambika
or the Mother-Goddess. The parallelism between Hindu Durga and Jaina Ambika is treated later on. But a few sculptures of Ganesa in the Pala Art show him stand
ing under a mango-tree represented by a bunch of mangoes. This emphasises Ganesa's origin from the ancient Yakşa cult, and suggests relation between the Jaina Ambika and the Hindu Ambika (Durga, Parvati,
Gauri) and Ganesa. 46. Coomaraswamy, A.K., Yakşas, I, p. 17. 47. Vasudevahindi, p. 85. The use of the term Janapada for
Magadha is also noteworthy and suggests that the story in this context is borrowed from an earlier source by the
author. 48. Shah, U.P., Studies in Jaina Art, figs. 72, 73, 75. 49. Even though the present work is based upon a study of
a number of photographs from the South, a special study of the various Jaina images in the South, carried out on the basis of some more exploration and a study of the imaons in the various Jaina shrines is essential. It is loped that this work will serve as an indicator to the future line of exploration in the South. One would not be surprised if such studies help us to revise some of
the conclusions arrived at in this book. 50. See Seşa quoted by Hemacandra in his common
Abhidhāna Cintamavi, 2.117ff. Here Gauri is also called
Bahupuutri. 51. For the list of Dik-Kumaris, see Vasudevahindi. part 1,
pp. 159-160. The names given in Prakt are - Blogamkarā, Bhogavati, Subhoga, Bhogamalini, Toyadhară, Vicitta, Pupphamāla, Anindiya, Mehamkara, Mehavari, Sumeha, Mehamálini, Suvartha, Vatthamitta, Värisena, Balahaga, Nanduftara, Nanda, Aranda, Nandivaddhaya, Vijaya, Veja yamti, Jayanti, Aparājiya, Samahard, Suppatinna, Suppasiddha, Jasohara, Lacchivali. Sesavati, Cittagurta. Vasundhara, Iladevi, Suridevi, Puhavi, Paumavati, Eganäsä, Nawamiga, Bhaddi, Siya, Alambusa, Missakesi, Pundarigini, Väruni, Hāsa, Savvappabha, Siri, Hiri, Citra, Cittakanaga, Satera, Sotamani, Yagāru (v.7. Ruyagi), Ruyagasaha (v.l. Ryamsa), Suriva, Ruyagávati.
The Angavija (Varanasi, 1957), ed. by Muni Punyavijaya, dates from c. 4th century and contains still earlier material. In this work, in chp. 9, p. 69, several goddesses are mentioned. They are: liri, Siri, Lacchi, Kitti, Medha, Sati (Smrti). Dhiti, Buddhi, Dhi, lla, sitä, Vijja, Vijjară, Candaleha, Ukkosasa, Abbharaya, Ahodevi, Devi, Derakanna, Asurakanna, Indaggamahisi, Asuraggamalisi, Airika (v.l. Airaka). Bhagavati, Alambusa, Missakesi, Minaka, Miyadam savid, Apala, Azadita, Airāni, Timissakesi, Tidhiri, (v.l. Tidhani), Salimalini, Tilottama, Citraradha, Cittaleha, Urvasi.
In chp. 51 called Devatä-Vijaya, we get more names of gods and goddesses. The goddesses are: Siri, Airánt, Pudhavi, Ekanása, Navamigā, Suradevi, Nagi, Suvanna, Nadidevata, Buddhi, Mehå, Latādevata, Nagaradevati, Ukkurudika-devati (?). Ariyaderatū, Milakkhadevata etc.
In chp. 58, pp. 223-224 we get some more names of goddesses: Nadi, Ala a (?), Ajja, Airani, Mouya, Sauri, Ekanamsai, Siri, Buddhi, Medhi, Kitti, Sarassari, Nägi, Rakkhasi, Asurakama, Gandharvi, Kimpurisakama, Jakkhi, Girikumari, Samuddakumari, Divakumari, Patakar , Prudhavi, Kuladevata, Vijjadevata, etc.
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