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JAIN LINKS TO THE SCULPTURAL TRADITION OF GOPACHAL
(i.) SUHANIA (A)
This could be reached from Gwalior by Bombay-Agra Highway. It lies slightly towards the north of Morena. Not far from the main road, as we go into the village, we come across a Jain temple. Towards the east of the temple, there is a panel of three Tirthankaras, standing in khadgasana. They are arranged from broken stone panels, collected from the ancient mound south-west of village. A close look at it suggests that it is of some antiquity.
The arranged panel contains a standing Tirthankara about 5 m. high in the centre projecting out from two more similar panels containing, standing Tirthankaras on either side. They measure 3.20 m. each. The side panels containing the Tirthankaras are also collected from the same mound and fitted into one panel. All the pieces, lithologically look alike in light yellowish quartzite.
It looks as though the main image in khadgasana was the original deity recovered from the dilapidated temple mound. It raises over a rectangular frame of side 4x3.2 m. The side panels appeared, to have come from the dvarasakhas, or the door jambs of the entrance of an ancient temple.
The heads are shown with ringlets of hair suggesting the mahapurusalaksana. Behind the head, there is a circular prabhamandala; usually associated with the main Tirthankaras in Jain panels. On either side, in the central panel, there are standing chauri bears in tribhanga. There was no atempt to portray the pedestal over which the image stands. However, the side Tirthankaras have better sculptural finish than those on the pedestal portrayed in the centre. This indicates some variation in the period of their execution.
Iconographical Features and Date :
Normally, in Jain or Buddhist sculptures of the early period, a slight partruberence of the head is seen. We also find similarity with sculptural tradition of the bare chest without srivatsa and circular prabhamandala. These suggest an earlier period. However, the
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