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Jaina-Rupa-Mandana At Devgadh, in temples 2 and 19 is found two-armed yakși Cakreśvari on images of Rşabha. The yakşi shows the cakra and the sarkha (conch). On the Lucknow Museum image no. J. 856 of Rşabhanātha, yakşi Cakreśvari carries the cakra and the conch.
Tiwari has noted a two-armed Cakreśvari on a Mānastambha near temple 16 at Devgadh. The goddess shows the cakra in each of her two hands.
Another specimen of two-armed variety hails from temple 2, Devgadh. Here, on an image of Adinātha, the yakşi is represented showing the abhaya mudra with the right hand and carrying the kalasa (water-jar) with the left. This is certainly curious since the disc which is her chief symbol and from which the yakși derives her name is absent here. It seems that a special tradition existed amongst the Digambaras, at least at Devgadh, which prescribed the abhaya and the kalasa (pot) for yaksinis of more than one Tirthankaras. Was the yakși known as Cakreśvari in this form and tradition?
Mohapatra has noted a two-armed yakşi Cakreśvarī, below the Rşabhanātha figure of Jamunda (D.M. 35) in Jeypore branch museum, seated in lalitasana pose, and displaying varada mudru in both hands.216 Was the yakşi called Cakrećvart in this form? This form is illustrated by the sculptures of Mahavira and Säntinātha with yaxşiņis bearing the same symbols in the temple no. 2, as also by the figures of the yakşiņis of Ajitanátha, Supārśva and Abhinandana (c. 12th century A.D.) in the temple no. 3 at Devgadh. The same iconographic tradition was also current at Mohandrā about a hundred miles from Panna in Central India where yaksinis of Mahāvīra and Santinātha were represented in precisely the same fashion. The sculptures are at present preserved in a newly built temple in Panna. So the name of this form of yakṣi was perhaps not Cakreśvari.
2. Four-Armed Variety
Vasunandi in his Pratişthäsāroddhāra refers to a four-armed form of the goddess with discs in two hands and riding the eagle.22 But he does not mention the symbols held in the remaining hands of the deity. Pratisthātilaka of Nemicandra also refers to this form but adds that the goddess shows the varada and the fruit in the other two hands.23 Ekasandhi also follows the same tradition in his Jinasaṁhita.24
In the temple no. 3 at Devgadh is preserved a sculpture of Adinātha, dated v.s. 1102, with a small figure of the yakşi Cakreśvari carved on the lower portion. The devi is represented as carrying the discs in the two upper hands, and as showing the abhaya and the fruit in the right and the left lower ones. A similar representation of the devi is carved on the pedestal of a large sculpture of Adinātha preserved in the Khajuraho Museum. Here the vähana appears like a human being.
Mathura Museum no. B.21 of Rşabhanātha shows the yakşi Cakreśvari carrying the disc in each of the two upper hands, and the conch in the left lower one. Her right lower hand is held in the abhava nudrā.
No. 0.75 in the Lucknow Museum is a sculpture of Adinātha with a figure of Cakreśvari showing another form. The deity carries the disc in each of her two upper hands and shows the varudia-mudra with the right lower one. The left lower is mutilated but it probably held the conch symbol. This is inferred with the help of another figure of the goddess showing identical symbols in the Jain temple no. 31 at Khajuraho. The yakşi rides the eagle.
A loose sculpture of Cakreśvari is preserved in the navaranga of the Santinátha Basti, Kambacahalli, Mysore State. Installed by the Gangas in late ninth or early tenth century, it is remarkable for its grace and can be compared with the finest of the Cola images. Here the goddess shows the cakra in the two upper hands, the abhaya mudra in the right lower and the padma or citron in the left lower one. The eagle is her vāhana (figure 94).25
Another form of the goddess is found on a figure of Adinātha in the temple no. 2 at Devgach: The goddess here carries the gada (club) in her right upper hand, the disc in the left upper, and the concr. in the left lower one, and shows the abhaya in the right lower hand. The garuda is her vahana. A similar figure can be seen on the pedestal of another figure of Adinātha in the same temple. Two more represen:ations of this form are found at Khajuraho, one on the pedestal of a sculpture of Adinātha in the Khajuraho
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