________________
Cuke 113
EAST INDIA (plate 54) represent the eighth Jina Candraprabha, as is clear from his cognizance-crescent-shown at the top middle of the siras-cakra. The other two (plates 55A and 56) represent the first Jina Rjabhadeva, so identified on account of the locks of hair falling down on his shoulders. The remaining two (onie illustrated, plato 55B) remain unidentified due to corrosion and the consequent lack of details. All the Jinas are shown scated in dhyana-mudra an a podestal and uniformly have the frivatsa-symbol in the middle of their chest and a fras-cakra at the back. Where the firas-cakra has now disappeared the tenon at the back of the image signifies its original presence. The images of Raabhadeva are perfectly proportioned and show an ovoid and robust face, cars with lengthened lobes, neck with regular striations and a masterly coalescence of planes from the shoulder to the waist and below, with every plane distinctly defined yet smoothly merging into cach other. In these features they appear to be superior to the images of Candraprabha in spite of the greater ornateness of the latter. However, the palms in the Rşabhadeva images are disproportionately large and the toes are spiayed. The hair is shown flowing sideways and has a parting at the middle of the scalp; locks of hair are shown falling on the shoulder in ripples.
One of the images of Candraprabha (plate 54A) has certain elaborations in its cast. The Jina is seated in dhyana-mudrà on a rectangular double-tiered pedestal, between two ornamental pillars forming a niche. The tops of the pillars carry grotesquely-designed makara-mukhas, with their tongues sticking out in a loop. Behind his head there is a semicircular siras-cakra with pellets on its rim, a halo-formation consisting of lotus-petals and a crescent at the top. The Jina has a cranial bump (uşnişa), long ear-lobes and, curiously, the keśa-vallari falling on the shoulders as on the Rşabhadeva's images. The face of Candraprabha is round, the torso diminutive and shoulders and arms a little drawn. The portion below the waist, i.e. the turning and intertwining of the legs and hands in the lap, is not sharply defined. The other image of Candraprabha (plate 54B) is smaller but is similar to the preceding one. One of the unidentified images (plate 55B) also appears similar to this class in the details of the pedestal rising in two tiors and in the delineation of the lower parts of tho body.
Taken together, these bronzes display stylistic differences, particularly in delineating facial features as well as the body as a whole. And the images of Candraprabha appear to be later than those of Rsabhadeva.
1 Cr. Slimh, op. dt., 1955, p. 13, for his opinion
some of the Chausa bronzes.
