________________
296
172. Mukerjee, B.N., op. cit., chp. II. For Nana, Ishtar and Hariti, ibid., pp. 26-28, footnote no. 95.
173. A useful study of the development of iconic concept of Nana in India, made by Miss B. Sarasvati, is published in J.A.S. (Calcutta), 1965, vol. VII, pp. 95-98.
174. Shah, U.P., Varddhamana-Vidya-Pata, J.I.S.O.A. (old series), Vol. VI, pp. 52-87.
175. See above Chapter Five, p. 60 and footnotes 46-47. .176. Nana on the Lion, pp. 57ff.
177. Nana on the Lion, p. 58. B.N. Mukerjee has also noted that the term Näpaka or Naņā was also used in the general sense of coins or wealth.
178. Mukherjee, B.N., op. cit., pp. 57-58.
179. Hanaway, Jr., William L., Anahita and Alexander, Journal of the American Oriental Society, vol. 102, no. 2 (April-June, 1982), p. 289.
180. Hanaway, Jr., William L., op. cit., pp. 289-90. Herman Lommel, Die Yast's des Awesta ubersetzt und eingeleitet (Gottingen: Vandenhoeck and Ruprecht, 1972), pp. 3739; also, p. 26, pp. 32-33, p. 53 etc. Yasht V probably dates from the period of Artaxerxes II or slightly later. 181. See note 180.
182. Hanaway, op. cit., pp. 290-291.
183. M. Chaumont, Le Culte d'Anahita a Staxr et les premiers Sassanides, Revue de l'histoire des religions, 153 (1958), pp. 154-175.
184. Hanaway, op. cit., pp. 292-293. Hanaway informs in his paper cited above that Dorothy G. Shepherd has written a paper on the "Iconography of Anahita". Also see L. Ringbom, "Zur Ikonographie der Gottin Ardvi Sura Anahita", Acta Academiae Aboensis: Humaniora, 23.2 (1957), p. 15.
185. Mukherjee, B.N., op. cit., p. 10. 186. For such coins see NC, 1892, pl. VII, nos. 10 and 11; PMC, Vol. I, pl. XVII, no. 66 etc.
187. NC, 1892, pl. VII, nos. 9, 11 and 14; pl. XII, nos. 14, 15; PMC, vol. I, pl. XVII, no. 57 etc.
188. Oriental and Babylonian Records, August, 1892, pp. 1ff; NC, 1892, pp. 77f; Journal Asiatique, 1958, vol. CCXLVI, pp. 422ff.
189. ERE, vol. VII, p. 428. For literary references to Nana, see G. Hoffmann, Auszuge aus syrischen Akten perischer Martyrer, Abhandlungen fur die Kunde des Morgenlandes, 1880, vol. VII, no. 3, pp. 151f.
190. For Nana-Anahita's association with beasts and IshtarNana-Anahita's relation with the Greek goddess Artemis see, Mukherjee, op. cit., pp. 12ff. 191. Mukherjee, B.N., op. cit., p. 14 and fig. 20. 192. Mukherjee, B.N., op. cit., p. 14, fig. 18, also, pp. 16-17; NC, 1892, pl. XIII, no. 2; PMC, vol. I, pl. XVIII, no. 135.
193. Hanaway, William L., Jr., Anahita and Alexander, J.A.O.S., vol. 102, no. 2, April-June, 1982, p. 292.
194. Published by U.P. Shah, Akota Bronzes (Bombay, 1960), pp. 28-29, pls. 11 and 74a.
195. Chanda, R.P., Mediaeval Indian Sculpture in the British Museum, pl. xxi, p. 68; A.S.I. Annual Report for 1934-35, pl. xxiv, fig. a.
196. Yajnavalkya Smrti, Book I, acaradhyaya, transl. by R.B.
Jain Education International
Jaina-Rupa-Mandana
Sirisachandra Vidyabhusana (Panini Office, Allahabad). For the text of the Smrti, see the Bombay ed. by Pandit Moghe.
197. Published by Coomaraswamy in H.I.I.A., fig. 177. 198. Glynn, Catherine, Some Reflections on the Origin of the type of the Ganga Image, Journal of the Indian Society of Oriental Art (New Series), vol. V, pp. 16-27, pl. VII, fig. 2 (Sudarsana Yakṣi); also see pl. VII. figs. 3, 5, 6, 7. 199. The benefic aspect of Ganga is her bringing to life the sixty thousand sons of Sagara. Also see Catherine Glynn, op. cit., pp. 20-22.
200. Published by Dhavalikar, M.K., Paithan Terracottas, Journal of the Indian Society of Oriental Art (New Series),
vol. VII, pp. 62-68, pl. XXIV, fig. 6.
201. Ibid., fig. 11 illustrates such a male figure from Paithan. 202. Parsvanathacaritam of Vadirāja sūri (Manikchand Digambara Jarua Ganthamala, vol. 4), canto X, vv. 81-88; canto XI, vv. 77-85; canto XII, vv. 42ff. Trişaṣṭisalakopuruşacaritam of Hemacandra, VIII.3.
274-295.
Parsvanathacaritam of Bhāvadeva süri, V.55-64; VI.170213: VII.827-830; V.463-466. Sri-Parsvanathacaritam of Udayavira gani, canto VII. Pasanähacariu, 14. Also see Mahapurana of Puspadanta and Uttarapurana of Gunabhadra.
203. For representations of the scene of attack by Kamatha (Meghamali or Bhūtānanda), see Shah, U.P., A Parsvanatha Sculpture in Cleveland, The Bulletin of the Cleveland Museum of Art, for December, 1970, pp. 303311, and fig. 1 (Central India, 9th century, now in Cleveland Museum), fig. 2 (from Jaina Cave, Aihole), fig. 3 (from Tirakkol, North Arcot district, Tamil Nadu), fig. 4 (Badami Jaina Cave), fig. 5 (rock-relief, Kilakkudi, T.N.), fig. 6 (Samnar-koyil, Anamalai, Tamil Nadu), fig. 7 (Kilakkudi, Unmanamalai hill, Madurai district), fig. 8 (also Kilakkudi), fig. 9 (Chitharal, Kerala), figs. 10, 11, 12 (Ellora Jaina Caves), fig. 13 (Indian Museum, Calcutta), fig. 14 (Maladevi temple, Gyaraspur, M.P.), fig. 15 (Ajmere Museum), fig. 16 (National Museum, New Delhi).
C. Sivaramamurti, Panorama of Jaina Art, fig. 33 (Tirakkol, 8th cent.), fig. 88 (Kilakuilkudi, 9th cent.), fig. 94 (Chitharal, 7th-8th cent.), fig. 121 (Aihole, c. 7th cent.), fig. 127 (Badami, c. 7th cent.), fig. 136 (Ellora, cave 32, 9th cent.), fig. 138 (Ellora, cave 32, 9th cent.), fig. 142 (Ellora, cave 32, 9th cent.), etc. 204. Pärsvanathacaritam of Vadiraja, X.84-88 and Uttarapurana, 73.
205. Compare---
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