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JAINA BIBLIOGRAPHY Pp. 97-98 Jaina texts lay down that Manibhadra was the name of a YaksaThe Sürya Prajhapti, an ancient Jaina text, mentions a Maņibhadra Caitya near Mithila capital of Tirhut.
P. 99. The Jaina Kalpasutra, mention Yaktail as an auspicious sign---sometimes regarded as an attribute of a Cakravartin.
P. 101. Various images classed as Vyantara devatās i.e. 'intermediate Gods' in the early Jaina literature.
Pp. 201-2. Abuout Terracotta seals-Bloch observed (excavations at Basarh) that most of the persons to whom the sals belonged were followers of the Brahmanical creed or Jainas, not Buddhists (A.S.I.A.R., 1903-04, P. 105). Srivats mark connected with the Jaina and other cults, similarly the two human feat (pada).
P 211. Reference to the wooden image of the Yaksa Moggarapani in a shrine outside the city of Rājagrha (6th Chapter of Antagada Dasão).
P. 230. Varābamihira gives a list of several sects which has been flourishing for a long time before his work (Brhatsamhita) was composed mentions images of the Jinas to be consecrated and installed by the unclad ones (ch. 59, V. 10).
P. 235. Many divinities were new entrants into the orthodox hierarchy ; they must have existed in some form as objects of veneration of particular classes of people-the Brahmans incorporated such deities into their ever-increasing pantheon Rşabha recognised as avatārı of Vişnu.
P. 254. The red sandstone figure of Pārsvanātha from Mathura (early Kushan period)--The Jina seated erect with his legs crossed and his hands in the dhyana-mudra ; Jaina images of the Gupta age and the mediaeval period also show this pose (COOMARASWAMI, H.I.1.A., PI, XXIII. fig. 86).
Pp. 258 & 264. Standing poses (bhangas, i.e. attitudes) --Samabhanga-the weight of the whole body is equally distributed on both the legs and the poise is firm and erect, there being no bend in the body—the most typical being the early and late figures of the Jain Tirthankaras whose hands also hang straight down by their sides without showing the least bend in them (Kayotsarga), described by Varāhamihira as ajanulambabahu, i.e., the arms long enough to reach the knees.
P. 281. The flying one mode in the ineonographic art, representation of the garland bearing and flower-throwing attendants or accessories of the deity-the Jaina caves of Udayagiri and Khậdagiri (Orissa) contain many such figures-these are Vidyadharas.
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