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Four More Popular Yaksinis
231 Museum and the other on the door-frame of the Jaina temple no. 19. On an image at Khajuraho, abhaya is replaced by varada mudrå. So also at Devgadh T. 2, 5 and 11, we find these two varieties of forms.
There is a big rock-cut sculpture of Adinātha in the Gwalior fort, with a standing two-armed Ambikā carved on his right and a four-armed standing Cakreśvari on his left side. Cakreśvari (JOI, op. cit., fig. 22) here carries the same set of symbols as in the figures just noted. On the left end of the pedestal of a large mutilated sculpture of Adinatha lying on the roadside in the village of Manhwara in the Jubbulpur District. Madhya Pradesh, is a small figure of the yakşi riding the eagle and showing the club and the abhaya in the right upper and lower hands while the symbols of two mutilated left hands are not recognisable, but the left upper hand appears to have held the disc symbol.
On the west wall of the temple no. 1, Devgadh, there are some sculptures studded into it, possibly during repairs, from the scattered images near the temple. On the northern end of this wall is a sculpture of Adinatha with the yakșa Gomukha and the yakşi Cakreśvari on the right and the left sides of its pedestal. Cakreśvari is riding the eagle and carrying the gada and the cakra in the right and the left upper hands respectively while showing the varada-mudra and the sarkha (concla) with the corresponding lower hands. We find similar forms in T. 12, 1, 4 and 26. A sculpture of Adinátha from Bateśvara in the Agra district, now preserved in the State Museum, Lucknow (no. 789), also shows Cakreśvari with identical symbols. A similar figure of the yakşi is also carved on a sculpture of Ādinātha preserved in the Khajuraho Museum. Also see figure 91 from Khajuraho. Here the symbol of the left lower hand is mutilated.
On the entrance door of the temple no. 9, Devgadh appears another variety of the four-armed Cakreśvari. Here the conch in the preceding figure is replaced by the rosary, while the other symbols remain unchanged. There is a lintel of a Jaina temple in the Khajuraho Museum with a figure of Cakreśvari in the centre and Ambikā and Padmavati occupying the right and the left ends respectively. In the intervening space are represented figures of the nine planets. The goddess Cakreśvari holds the club and the disc in the two upper hands and shows the varada pose in the right lower one. The symbol of the fourth hand is mutilated.
On a pillar in the temple no. 12, Devgadh, there is a standing figure of Cakreśvari carrying the club and the conch in her right and the left upper hands respectively, while the right lower is held in the raradu pose and the left lower holds the disc. A miniature figure of her usual vehicle is seen in the left lower corner. A female chowrie-bearer is seen on either side of the yaksi (JOT, op. cit., fig. 23).
On the pillar no. 1, west gate, Devgadh fort, there is a beautiful well-preserved representation of Cakreśvari sitting with her right foot hanging in the lalita pose. She carries the disc and the conch in the left upper and lower hands; her right upper hand shows the abhaya-mudrā while the right lower one holds the club. The garuda vehicle of the goddess, full of life and vigour, lends additional charm to this sculpture (JOI, op. cit., fig. 24). A figure of Cakreśvari on a sculpture of Adinatha, in the temple no. 9 at Devgadh, also shows identical symbols.
On the south wall of the Jaina temple at Jinanāthapura in the Mysore State, is a Cakreśvari sitting in the lalita pose on a bhadrâsana. A miniature figure of her guruda våhana is seen in the left lower corner of the sculpture. Cakreśvari carries the cakra in her right as well as the left upper hands and the lotus in the right lower one. The left lower is held in the varalla pose. The ornamental halo behind her face, the crown over her head and the various ornaments over her person may be noted; stylistically, the figure is typical of the art of the Hoyasala period (figure 102A).
On a slab in the temple no. 12, appears one more form of the four-armed variety. The devi is here shown in a standing attitude carrying the cakra in cach of her four hands. A similar form of the goddess is available on the pedestal of a sculpture of Adin itha preserved in the State Museum, Lucknow (no. 6.322). Here Cakreśvari is represented in a sitting posture. The Devgadh figure just described represents an older tradition as it can be assigned to c. tenth century A.D. on stylistic grounds and on account of the script of the labels inscribed on the set of the yaksinis preserved in this temple. The sculpture is one of the carlier specimens of the yakși Cakresvari.
With this last form may be compared the Svetimbara vidyadevi Apraticakra or Cakreśvari who
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