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MATHURA
Buddhists took generally the form of stulpas, the pious donations of the Jainas of this period at Mathura were dydga-patas. The practice of installing these slabs on vedis as pions dedications with the object of carning religious merit probably bocame defunct when the installation of the images of the Tirtha karas on small platforms or pedestals on four sides of the stupas and in temples and other sacred spots became widely prevalent.
JINA AND OTHER IMAGES
A prolific centre of art, Mathura played a significant role in the develop ment of the Jaina iconography as well. There are very limited representations of the incidents from the life of the Tirthankaras like the dance of Nila jana which inspired Reabhadeva to renounce the world and Harinaigamesin, who, according to the Kalpa-sútra, removed the embryo of Mahavira from the womb of Brāhmani Devånanda to that of Ksatriyāni Tribala. It appears that images of Tirtharkaras interested the Mathură artists and their clientele more than any. thing else, with the result that numerous images were produced in the workshop of Mathura from the first century A.D. to the Gupta period.
The earliest figures of the Titharkaras are found on the dyäga-patas assigned by Bühler to the period before Kaniska. In the figures the robeless Jinas with an umbrella over head are seated cross-legged with hands on the lap. Lanchanas are not depicted; consequently Parsvanatha alone can be distinguished by the seven-hooded serpent-canopy over the head.
Of the Kushan period there are numerous images, many of them being inscribed and several bearing dates of the Kushan rulers ranging in date from the year 5 in the reign of Kaniska: to the year 98 in the reign of Vasudeva. The iconography of the Jinas, without the paraphernalia of the later period, are almost standardized, though the distinguishing lanchanas are yet to be evolved, with the result that, unless the names of the Tirthankaras are mentioned in dedicatory inscriptions, it is not possible to differentiate the individual Tirthankaras, except Parsvanatha who is marked by a canopy of snakehoods and Rsabhanåtha who has some locks of hair falling on his shoulders.
1 Shah, op. cit., 1995, p. 11; Bulletin of Museums and Archaeology in U.P., 9, June 1972, pp. 47-48.
• Dr Jyoti Prasad Jaio it, however, of the opinion in personal correspondence) that the representations allude to the transfer of the newly-born babes of Devaki ip Kansa's prison to the botom of Alaki, wife of Sudrasta, a merchant of Bhadrilapun.
* Ode of the images in dated in the year 4 (Lüdens, Lla, 10. 16), presumably of the era used by Kushno rolor.
