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List of Plates
329 placed her left hand on the head of a female figure standing on her left side. Her right hand is held akimbo. Near her right leg are her two sons. The carvings seem to date from c. seventh century A.D. Mark the big cushion behind the Jina in the centre. Behind this round oblong cushion is the backrest with a horizontal bar resting on two pilasters shaped like two standing animals. Marks of nudity are not clear on the figures of any of the three Tirthaikara images. For Apandamangalam and these figures, see K.G. Krishnan, Jaina Monuments of Tamil Nadu, Aspects of Jaina Art and Architecture, p. 99, Fig. 8. There is a one line inscription on the boulder which records "the gift of gold for feeding one devotee in Jinagiripalli by Vardhamānapperiyadigal ..." The inscription is of the 38th year of Cola Paraptaka I, d. 945 A.D. The sculptures on the rocks date from a period before 945 A.D. C. Sivaramamurti, Panorama of Jaina Art, S. India, p. 16. Copyright, Archaeological Survey of India.
Fig. 49 (Pl. XXVIII). Tirthankara Mahāvira with different pratihāryas in parikara, central panel, asta-Dikpala ceiling, rangamandapa, Säntinātha temple, Kambadahalli, Karnataka. Age, c. end of the tenth century A.D. Besides two usual camaradharas behind the seat of the Jina, we have here one more câmaradhara on each side of the Jina; these are not yaksas but are nägas (snake-deities) having five ssake-hoods overhead. The Yaksa and Yaksi are each two-armed. The Yaksa Sarvanubirati Sarvänha) rides on an elephant and holds a lotus-stalk in his right hand. Symbol of the other hand is not distinct. Yaksi Ambikā here holds lotus in her right hand and rides on the lion; symbol of the other hand is not distinct. Ref. M.A. Dhaky, Ganga Jaina Sculpture, paper no. 16, Aspects of Jaina Art and Architecture, pp. 195-203 and Fig. 8. Copyright & Courtesy, American Institute of Indian Studies, Varanasi.
Fig. 50 (Pl. XXIX). Attack of Kamatha on Pārsvanātha, Kalugumalai, Tamil Nadu. Age, c. 8th century A.D. Style, Pandyan. Ref. U.P. Shah, A Pārsvanatha Image in Cleveland, Bulletin of the Cleveland Museum, Dec. 1970, pp. 303-311, giving the story of attack by Kamatha and its various representations on stone, mainly in S. India. For the Kalugumalai relief, see C. Sivaramamurti, Panorama of Jaina Art, coloured plate facing page 11, and Fig. 37. For other reliefs of this scene, see ibid., figs. 38 & 39, 44 (from Tirakkol, North Arcot district, age, c. 8th cent. A.D.), fig. 80 (from Karaikoyil, c. 8th-9th cent. A.D.. style Pandyan), fig. 121 (from Aihole, age, c. 7th cent. A.D.), fig. 127 (from Badami, c. 7th cent. A.D.), fig. 136 (from Ellora, cave 32, c. 9th cent.), fig. 138 (also from Ellora, cave 32, 9th cent. A.D., style Rästrakūta), fig. 142 (also from Cave 32, Ellora, 9th cent. A.D., Rästrakūța). For Sve. representations in paintings, see W. Norman Brown, Miniature Paintings of the Jaina Kalpasutra. Copyright, Archaeological Survey of India.
Fig. 51 (Pl. XXIX). Tirthankara Vimalanātha standing in käyotsarga posture. From Sarnath or Varanasi, now in Sarnath museum, no. 236. Age, c. 9th cent. A.D. Attended by a câmaradhara on each side, the Jina is recognised with the help of the figure of his cognizance-the pig-carved in the centre of the pedestal.
Fig. 52 (Pl. XXIX). Neminātha standing in kayotsarga mudră from Padhävali (M.P.). Pedestal shows the dharmacakra on the left, a female in a dance pose with folded hands, and on the right is a conch, the cognizance of Neminātha. Obviously there is a slight departure from the arrangement in which the dharmacakra in the centre of the pedestal was flanked on each side by the cognizance of the Jina. Note the winged animal on top of the pillar on the left side. Age, c. tate 6th century A.D. Copyright, Dept. of Archaeology, old Gwalior State, now Madhya Pradesh.
Fig. 53 (Pl. XXX). Sambhava Jina with horse cognizance and Jina Abhinandana with the monkey as cognizance. The lañchanas shown in the centre of simhasana of each Jina. From Cave 9 on Khandagiri, Orissa. The Cave is described as Mahāvira-Gumpha, R.P. Mohapatra, Udayagiri & Khandagiri Caves, pp. 170-171, 60-61, pl. 10, Fig. 2, p. 174. For images of Sambhava in NavamuniGumpha, Bârabhuji-Gumpha and Mahävira-Gumpha, see ibid., Pl. 85, Fig. 1, Pl. 88, Fig. 1, and Pl. 97, Fig. 1. For Abhinandana, ibid., Pl. 85, Fig. 2, Pl. 88, Fig. 1 and Pl. 97, Fig. 1, and p. 175. Copyright, Archaeological Survey of India.
Fig. 54 (Pl. XXX). Sumatinātha and Padmaprabha, with curlew (kraunca) and lotus respectively
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