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JAINA BIBLIOGRAPHY
1035
P. 588. Bịhatsamhita Adhyāya 57
प्राजानुलम्बबाहुः श्रीवत्साङ्कः प्रशान्तभूर्तिश्च । दिग्वासास्तरुणों रूपवांश्च कार्योर्हतां देवः ॥ ४५ ॥
Trans: The god of the Arhata (the Jainas, i.e. any of the 2+ Tirthankaras) should be shown nude, young and beautiful in appearance, with a tranquil expression and arms reaching down to the knees; his breast should have the (auspicious) Śrivatsa mark.
933
S K. SARAswATI-A Survey of Indian Sculpture, Calcutta, 1957.
P. 25. Sixth century B.c. saw great ferments in the intellectual and political lite of India; the rise of Jainism and Buddhism introduced new ideas.
Pp. 50-51. Udayagiri and Khaņdagiri cave relief; Khāravela flourished about the second half of the first century B. C. Hāthi gumphā, Manchapuri, Ananta gumpha, Rani gumpha, Ganesha gumphā, Jaya Vijaya and Alkapuri caves.
P. 54. The two Jaina torsos from Lohanipur near Patna are analogus to the Patna Yaksha figures.
P. 68. Mathura, votive slabs (ayāgapattas) erected in Jaina shrines; Amohini relief pre-Kushāņa in date.
934
Gustav Rors-The woman and tree motif: Śālabhanjikā --Dālamalika in Sanskrit Västuśāstras and Prākrit Texts, (summaries of papers, AIOC, XIXth session, Delhi, 1957) Pp. 107-110.
Śālabhanjikā is a technical term applied to the graceful woman, tree motif in Indian art. The term Salabhanjiā occurs in Prākrit works like Rayapaseņaijja and Nayadha nkahao. A list of these passages from canonical Jaina Svetāmbara works, written in Ardhamagadhi Prākrit is given. Archaeological findings of woman-tree carvings in a Jaina stūpa in Kankāli Tila at Mathura.
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