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CHAPTER 15]
EAST INDIA
very conspicuous transitional feature is its throne with a single row of lotuspetals pointing upwards on the throne. On the seated images of the Gupta period, the lotus has no place, while in the later medieval images the throne is decorated by two rows of lotus-petals, the upper pointing upward and the lower pointing downward. Certain features of this figure, such as the palm of the hand and the soles of the feet, indicate a tendency to fresh observation of nature. Though often anatomically more correct, the later medieval sculptures lack the breadth and the depth of feeling of the Gupta sculptures. The limbs of this image of Rsabha are stiff and the stiffness of modelling is emphasized by sharp angles made by the elbows.1
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The cells round the central chamber of the temple contain sculptures representing Parsvanatha, Mahavira, a seated image with a horse on the pedestal, i.e. Sambhavanatha, a Jaina couple with a child under the branch of a tree,
etc.
In a modern Jaina temple on the Udayagiri hill was noticed by Chanda a seated image of Parsvanatha. Traces of letters on the lower part of the base make it attributable to the ninth century. This image,' says Chanda, 'has certain unique features. Though its beautifully modelled face shows the Yogin absorbed in meditation, the sturdy, thickset body better becomes an athlete than a Yogin. The disposition of the body of the seven-headed naga, the cognizance of Parsva coiling round the Jina seated on the lotus-throne, has a splendid decorative effect. The sculptor who modelled this image was a bold innovator."
Another interesting image of about the same age, also from Rajgir, is that of Munisuvrata, with his Sasana-devi Bahurupiņi shown in a reclining position on a cot below the pedestal of the Jina (plate 90B). This image is enshrined in the Vaibhara temple. There are also a few other such images known to us. One of them belongs to the collection of Mr. Bijoy Singh Nahar, Calcutta, and another is in Cave 8 of Khandagiri, mentioned above (p. 162). It is, however, difficult to say, why Bahurupiņi is shown in a reclining position (which reminds us of almost the same position of Maya when she saw in dream the
1 Chanda, op. cit., p. 126.
1 Ibid., p. 127.
• Debala Mitra in Journal of the Asiatic Society, 1, 1959, pp. 38-39.
• The findspot of this image is not known, but stylistically it belongs to the Bihar school of art. I am deeply grateful to Mr Bijoy Singh Nahar who very kindly allowed me to study his collection of Jaina sculptures and also gave permission to have their photographs.
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