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List of Plates
327 A. Ghosh), Vol. III, chap. 35, Figs. 308 and 309b for bronzes representing Panca-Paramesphins and Nava-Devatā. Studies in Jaina Art, Fig. 77 from Jina-Kanchi. Copyright, U.P. Shah.
Fig. 38 (Pl. XXII). Panca-Parameşthi-(Sve.), stone from Jaina temple, Nadol, see U.P. Shah, Chap. 35 on Iconography, in Jaina Art and Architecture, Vol. III, pp. 477ff and Pl. 307. Copyright, Archaeological Survey of India.
Fig. 39 (Pl. XXI). Siddha-Cakra (Sve.), bronze, now in Baroda Museum, Baroda, see Studies in Jaina Art, pp. 97-103, Fig. 85; Jaina Art and Architecture, Vol. III, pp. 477ff. Copyright, Baroda Museum, Baroda.
Fig. 40 (Pl. XXIII). Rşabhanātha meditating, with Nami and Vinami standing on his sides. From Satruñjaya. Nami and Vinami, the grandsons of Rşabha, were not present when Rşabha divided his kingdom amongst his sons before he turned a monk. Nami and Vinami later came to Rşabha when the latter was standing in meditation as a monk, and requested that both of them may be given some share. At this, Dharanendra, a demi-god, is said to have approached and bestowed on Nami and Vinami lordship over cities of Vidyadharas situated on the southern and northern slopes of the Vaitādhya mountain. For fler account of the story see Trisastišalaka-puruşacarita, 1.3, 124-233, GOS, vol. LI. p. 170ff. U.P. Shah, Iconography of the Sixteen Jaina Mahavidyas, JISOA, Vol. XV (1947), pp. 114ff. M.A. Dhaky, Apropos of the Image of Rşabha with Nami and Vinami, S.K. Saraswati Commemoration Volume, pp. 59ff, assigns this sculpture to c. 1240-41 A.D. Copyright and Courtesy, American Institute of Indian Studies, Centre for Art and Archaeology, Varanasi.
Fig. 41 (Pl. XXIV). Sculptures of Bharata and Bahubali on the Satruñjaya hill. Representations of Bāhubali in Svetāmbara shrines are rare. Of course amongst miniature paintings of the Kalpa-sūtra, ono often comes across paintings of Bahubali standing in meditation with creepers entwining his body and his sisters-Brāhmi and Sundari-standing, one on each side, and requesting him to give up his subtle egoism. The sisters said, "Please come down from the elephant".--the elephant symbolising ego. Here, in Fig. 41, the image on the right is of Bahubali having a long beard and creepers entwining his body. On each side is his sister. On the pedestal is carved a figure of an elephant as if it were a cognizance of Bahubali. No literary evidence is known for such a cognizance of Bahubali and perhaps this is an innovation of the artist or the donors of this image. The idea of the elephant symbol could have been inspired by the story of Brahmi and Sundari requesting him to come down from the elephant (his subtle egoism), i.e. to give up his subtle egoism.
According to the inscription on this image, it was the gift of Vyavahāri Dhadasimha and installed in the Sri Santinātha Vidhicaitya at Sri-Pattana by Sri Jinapadma sūri of Kharatara gacca in the year Samvat 1391 (=1334 A.D.). See M.A. Dhaky, Image of Jina Rşabha with Nami and Vinami, S.K. Saraswati Memorial Volume, pp. 56-67 and note 49.
The image on the left in this illustration (our fig. 41) represents Bharata Cakravarti, the son of Rşabhanātha. The Wheel on the pedestal is the cognizance of a Cakravartin. Here Bharata stands in the kāyotsarga mudra and hence the image represents Bharata after he renounced the world and became a Jaina monk. The inscription on the pedestal shows that it was also installed (like the Bahubali image) in the Sri Santinātha Caityälaya at Sri-Pattana by Jina padma süri in Samvat 1391 (1334 A.D.), the donor being the wife of Vyavahāri Dhadasimha. Copyright & Courtesy, American Institute of Indian Studies, Centre for Art & Archaeology, Varanasi.
Both the images are now on the Satrunjaya hill alongside of the image of Rşabha with Nami and Vinami illustrated in Fig. 40.
Fig. 42 (Pl. XXV). Miniature painting showing different Kalyanakas from the life of Ariştanemi, Folio 60 from Ms. of Kalpa Sutra in L.D. Institute of Indology, Muni Sri Punyavijayaji Collection, size 8 x 8.7 cms. Assigned to V.S. 1403 = 1346 A.D. by Punyavijayaji and U.P. Shah. Divided into four sections, the upper two sections show the Mother with Child Aristanemi in the section to the right, and Aristanemi being carried in a palanquin when he goes out to renounce the world and be initiated as a monk (this represents part of his Diksā Kalyāņaka) on the lower two sections, one on the right shows Aristanemi plucking out hair on his head which are being collected in the palm of his hands by four
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