Jaina Archaeological Heritage of Tamilnadu

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

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JAINA ARCHAEOLOGICAL HERITAGE OF TAMILNADU
artist is very significant. While comparing them with similar Hindu paintings of the same period, they are more carefully planned and executed with a singular purpose of popularising the stories around the Tirthankaras and yaksi Ambika.
The painting of the story of Ambika yaksi is another interesting factor, as it indicates the immense popularity that the myth enjoyed amongst the Jaina laity. As already discussed above, the themes of the Jaina paintings of earlier periods was limited only to Tirthankaras. But, it is only in Tirumalai we come across the story of Ambika yaksi. This trend was perhaps carried on in the Vijayanagar period also. As by now, yaksi worship, especially that of Ambika had emerged strongly in the Tamil country.
The first instance where the myth was the subject of a painting was perhaps at Tirumalai which was the centre associated with Agnila or Ambika yaksi. Another centre where we find incidents of this yaksi's life painted are at Tiruparuttikunram which is the home of the manuscript which contains the Digambara version of the yaksi's life.
The story of Ambika yaksi is painted in two rows on the beams of the verandah. The various incidents in the life of Agnila are depicted in the paintings. The narrative runs from left to right. In the first panel, Agnila is shown seated with her husband. In the second panel, she is accompanied by her sons followed by some panels which depict her paying obeisance to the monk Varadatta and offering him food. In the fourth panel, she is offering food and placing it on the tray before the monk. The pious woman is painted in white and sage in black on a white background.
After this, the panels are damaged and from the remnants of the paintings, the rest of the story has to