Jaina Archaeological Heritage of Tamilnadu

Author(s): A Ekambarnathan
Publisher: Bharat Varshiya Digambar Jain Mahasabha

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JAINA ARCHAEOLOGICAL HERITAGE OF TAMILNADU
anjali pose. The cave together with these sculptures was known as Jinagiripalli.
An excellent portrayal of Parsvanatha in the 9th century Chola style of art could be seen on the western face of a huge boulder atop the hillock at Atchippakkam, about 20 Kms. north-east of Tindivanam. The Tirthankara stands in an erect posture with a five hooded serpent canopy above his head. Padmavati holds a long - handled umbrella extending beyond the serpent hood. At the right corner of the panel, Kamata is shown wielding a huge boulder in his four arms with the intension of hurling it on Parsva. As his attempts to disturb the penance of Parsvanatha caused no adverse effect, he bows down before the Jina. Strangely enough, a four-armed celestial on a chariot is sculpted at the left hand corner as if witnessing the whole episode.
Chittamur, situated between Tindivanam and Ginjee, the headquarters of the Digambara sect, is noted for its Malainatha and Parsvanatha temples. The former temple grew around a huge boulder containing an oblong panel with excellent images of Bahubali, Parsvanatha, Adinatha, Mahavira and Ambika yakshi. Among them, the sculpture of Ambika is spectacular and unparalleled in the rock-art of Tamilnadu. Like a creeper entwining a tree, she stands elegantly in tribhanga pose with her right leg firmly placed on the back of the crouching lion and the left, bent at the knee, rests on the areca tree behind. Her right arm possesses a lily flower whereas the left entwines the areca tree. Her smiling countenance, attenuated waist, globular shaped abdomen, suppleness of the limbs, etc., are illustrative of the immaculate workmanship of a divine artist. These sculptures were commissioned
during the reign of Aditya Chola I (871-901 A.D.)'.