________________
292
The Jinasai hita of Ekasandhi, edited by U.P. Shah,
will be published later. 25. Annual Report of the Mysore Archaeological Department,
1939, pp. 44ff, pl. VII.2, where it is wrongly called Padmavati. Also see Settar, Chakreśvari in Karnataka Literature and Art, Oriental Art (N.S.), Vol. XXVII,
no. I. 26. Jaina Vestiges in the Pudducotta State, Quarterly
Journal of the Mysore State, Vol. 24, no. 3, pp. 213-214. Säntisvara Basadi, built in about 1200 A.D. by Rechana,
a general of Hoyasala king Vira-Ballaja II. 28. Illustrated by S. Settar, in Oriental Art, Vol. XVII,
no. 1, loc. cit. 29. Described by Krishna Dev, Maladevi Temple at Gyaras
pur, Mahāvira Jaina Vidyalaya Golden Jubilee Volume,
p. 262. 30. S. Settar, Chakreśvari in Karnataka Literature and Art,
Oriental Art, Vol. XVII, no. 1, pp. 63-69. 31. Sharma, B.N., Unpublished Jaina Bronzes in the
National Museum, Journal of the Oriental Institute, Vol.
XIX, no. 3, p. 276. 32. Tiwari, M.N.P., Jaina Pratima-Vijana, p. 168. 33. Ibid., p. 169. 34. Ibid., p. 170. 35. Mitra, Debala, Sasanadevis in the Khaudagiri Caves,
Journ of the Asiatic Society (Calcutta, 1959), Vol. I, no.
2, pp. 127ff. 36. No. D.6 of Vogel's Catalogue of Sculptures in the Curzon
Museum, Mathura, p. 95, pl. xvii. One would think of identifying this sculpture as a ten-armed variety of the Apraticakra Maha-vidya of the Svetämbara pantheon. Cakreśvari or Apraticakra is worshipped as a Mahavidya by the Svetambara sect only, and is said to carry the disc in all the four hands. But no ten-armed variety of the Śvetambara Vidya is known to exist elsewhere. Again
the Jina figure overhead would suggest she is yaksi. 37. Discussed by U.P. Shah, Iconography of the Jaina
Goddess Sarasvati, Journal of the University of Bombay,
Vol. X, part 2, Fig. 20. 38. See Bhairava Padmavati-Kalpa, appendix 23. The hymn
calls her Sri-Cakrā, shining like red-hot gold and carrying the discs, the lotus, the fruit and the thunderbolt in her hands. Terrific in appearance and threeeyed, the goddess is invoked for protection from dakinis and guhyakas, for destroying obstacles, for increase of wealth and for the vasya, mohana, tuşi or k obha rites as well. She is said to make a terrific noise and exhibit her teeth. Unfortunately, the text does not specify the exact
number of her arms. 39. Bruhn, Klaus, The figures of the two lower reliefs on the
Parsvanatha temple at Khajuraho, Acarya VijayaVallabha-Sūri-Smáraka-Grantha (Bombay, 1856),
English Section, pp. 7ff, esp. p. 25. 40. वामे चक्रेश्वरी देवी स्थाप्या द्वादशसभुजा ।
धत्ते हस्तद्रवे वचं चक्राणि च तथाष्टम् ।। १५ ।। एकेन बीजपूरं तु वरदा कमलासना । चतुर्भुजाऽथ वा चक द्वयोर्गरुडवाहना ॥ १६ ॥ -Pratishas rasaigrala of Vasunandi, fifth pariccheda (in Ms.)
Jaina-Rupa-Mandana 41. Pratishásároddhāra, p. 71, verse 156. 42. a
fav 17074: : ! अष्टाभिश्च फलं वरं करयुगेनाधत्त एवाथना । धत्ते चकयुगं फलं वरमिमां दोभिश्चतुर्भिः थितां ताक्ष्य तो पुरुतीर्थपालनपरा चकेश्वरीं संबजे ।। १॥
-Pratishatilaka, chp. 7, pp. 340-41 43. Tiruparutikunram and its Temples, p. 198. 44. S. Settar, Cakreśvart in Karnataka Literature and Art,
Oriental Art, Vol. XVII, no. 1. 45. I am thankful to Rev. H. Heras for allowing me to take
a photograph of this figure. 46. Mysore Arch. Survey Report for the year 1925, pp. 1-2.
For a photo published by S. Settar, see Oriental Art,
Vol. XVII, no. 1 (1971), fig. 6. 47. Cf. TATT ETTEET roce 1
मातुलिङ्गाभये चैव तथा पद्मासनाऽपि च ।। १५ ।। - गरुडोपरिसंस्था च चकेशी हेग्वाणका।
- Aparījitaprechi (G.O.S., Vol. CXV), p. 566 48. Cf. art fram
द्वादशभुजाष्टचत्राणि दचयोर्ट यमेव च । arafa *4 quruar (681)qft 11 -Devatamartiprakarana (Calcutta Sanskrit Series,
Vol. XII), 7th adhyāya, verse 66, p. 142 49. Mitra, Debala, Sasanadevis in the Khundagiri Caves,
Journ. of the Asiatic Society (Calcutta, 1959), Vol. I, no.
2, p. 133, p. VIA. 50. Ibid., p. 130, pl. IIA. Mohapatra, R.P., Jaina
Monuments of Orissa, fig. 35. JOI, XX.3, op. cit.,
Fig. 30. 51. For its position see the diagram given by Jose Pereira
in his Monolithic Jinas (Delhi, 1977), pp. 110 and 116. 52. Tiruparuttikunram and its Temples, p. 198. 53. Ibid., p. 197. Ramachandran thinks that the tradition of
Canarese Dhyana Slokas agrees closely with the icono
graphic notes by Burgess in the Indian Antiquary. 54. Indian Antiquary, Vol. XXXII, pp. 461-463 and plates. 55. Gupta, S.P. and Sharma, B.N. in "Gandhaval Aura
Jaina Mürtiyan (Hindi)", Anekanta, Vol. 19, nos. 1-2, pp. 129ff, and fig. 4 refer to a twenty-armed form of Cakreśvari. The small photograph published suggests that the figure is probably the same as the one discussed by us here as fig. 121. Our photograph seems to suggest that the goddess had sixteen arms. A proper checking
on the spot would be necessary. 56. Mohapatra, R.P., Jaina Monuments of Orissa, pp. 224
225. 57. This sculpture has been referred to by some scholars as
representing a sixteen-armed Cakreśvari. Evidently, it is difficult to fix up the exact number of her arms. I am inclined to regard this as a twenty-armed figure from a study of the same on the spot and also from the existence of another twenty-armed figure studied by me in temple no. 2 at Devgadh. A study of the photograph of the figure under discussion, published earlier by us in JOI, Vol. XX, no. 3. Iconography of Cakreśvari, fig. 36. will show that it can either be taken as representing a twenty-armed Cakreśvari or in an alternative way, an
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