Jaina Art and Architecture Vol 02

Author(s): A Ghosh
Publisher: Bharatiya Gyanpith

Page 95

MONUMENTS & SCULPTURE A.D. 1000 TO 1300
[PART V
form of a number of fine figures in attractive poses, including Vidyadharas, celestial musicians, drummers, attendant divinities and bhaktas, besides celestial elephants (plate 151), triple chatras and an ornate halo. This was, however, basically in conformity with the earlier Jaina tradition as can be observed from the following verses of the Bhaktamara-stotra by Manatungacārya:
simhasane mani-mayūkha-śikhā-vicitre vibhrājate tava vapuḥ kanakāvadātam ! bimbam viyad-vilasad-aṁśu-latā-vitānaṁ tungodayadri-sirasīva sahasra-rasmeḥ || 29 ||
kundāvadāta-cala-camara-caru-sobham vibhrājate tava vapuḥ kaladhauta-kantam udyac-chaśānka-śuci-nirjhara-väri-dhāram
ucchais-tatam sura-girer-iva śātakumbham || 30 || chatra-trayam tava vibhāti śaśānka-kāntaṁ uccaiḥ sthitam sthagita-bhānu-kara-pratāpam
mukta-phala-prakara-jāla-vivṛddha-sobham
prakhyapayat-tri-jagataḥ parameśvaratvam
gambhira-tara-rava-pūrita-dig-vibhāgas trailokya-loka-subha-sangama-bhūti-dakṣaḥ | saddharma-rāja-jaya-ghoṣaṇa-ghoṣakaḥ san
khe dundubhir nadati te yasasaḥ pravādi || 32 ||
31 //
It would not be out of context to point out here that the Jina images in kāyotsarga-posture with or without smaller attendant figures seem to be closer to the vita-rāga ideal of the Tirthankaras (plate 152) in comparison to their decorative seated figures. Mostly the uşnişa is low and compressed (plate 153) and later images (dating from circa twelfth century) show more pronounced angularity in the treatment of the body. The overhanging cloth below the ornate cushion in the case of seated Jina images has either a semicircular or an elliptical outline covering the top of simhasana fully or just centrally with a variety of decorative designs.
The delineation of trees and plants including the lotus-flower, although stylized, is not without visual charm. The representation of animals with the exception of lion is, however, spirited and pleasing. Of the applied art the most popular motifs of the period comprise rhombic ornament, ghata-pallava, bell with chain, scrolled designs, medallions and half-medallions.
Some of the excellent specimens of Indian art of the age like the figures of Väg-devi from the Bikaner region and the ornamental
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