________________
જૈન યુગ
bali, whereupon his two sisters Brahmi and Sundari came and requested him to give up his subtle egoism which obstructed the way to final emancipation and beatitude. Bahubali decided to go and pay his respects to his brother Bharata. But as soon as he started walking, the Supreme Knowledge dawned and Bahubali became free from all bondages. Bharata himself later turned a Jaina monk and finally obtained moksa.
The interesting story, full of life and action, is vividly represented in the dome of the big porch in front of the Rangamandapa of the temple built by Vimala Säha. Each scene in the story is labelled originally, the labels being inscribed in Devanagari characters of the age. One really marvels at the way in which the whole story is gradually narrated with selected scenes beautifully and minutely carved in soft white marble which has become so malleable under the artists' chisel.
The same temple contains, in Bhāva no. 10, the story of monk Ardrakumāra, who imparted right knowledge to an elephant.
In Bhāva no. 15, in front of cell no. 9 in Vimala Vasahi, are represented in relief, the five Kalyanakas or the chief auspicious events in the life of a Tirthankara. Both in Buddhism and Jainism, there are a few chief events in the life of a Buddha or a Jina which are especially remembered and represented in reliefs. These events, called Kalyanakas by the Jainas, relate to Descent from heaven's (Chyavana), birth (Janma), renunciation (Dikṣā), attainment of Supreme Knowledge (Jñāna) and leaving of the earthly body (Nirvana). Each of these events
૪૦
節
સપ્ટેમ્બર ૧૯૫૯
is celebrated by gods and goddesses with proper festivities, music, dancing, prayers etc. They are the subjects of numerous miniature paintings on palmleaf and paper in works like the Kalpasutra. They are also represented in the different plaques depicting the lives of different Tirthankaras at Abu and Kumbhāria. They can be better appreciated by a personal visit or from a study of good photo-reproductions.
The artists abridged and narrated, even on a small stone relief, the famous stories of Aśvāvabodha and the Sakunikavihara of Broach in small plaques preserved at Lūņavasahi, Delvāḍa and at Kumbharia. The story of a Ceylonese Princess coming to pay her respects to the sacred Jaina shrine at Broach is depicted very vividly indeed, in the panel depicting the story of Sakunikāvihāra.
Two small panels on beams, in Bhava no. 12, Lūṇavasahi, representing Krishna's life in Gokula have met with universal appreciation as beautiful specimens of the stone-cutter's art of the age.
In these panels, the stepped pyra midal roofs of two storied building to the left of the gateway, with a figure looking out of the window in each storey and the massive towers (aṭṭălaka) of the gate, capped by barrelvaulted roofs, may be noted. One of the wings of the doorway is pushed open by a figure who, in the words of Dr. Kramrisch, "seems to stand for ever. Pointed angularity of limbs, or else concave curves thin the plastic context and bring about a linear composition as clear as possible".*
Radio Talk, AIR, Bombay. By the kind permission of AIR, Bombay.
