Jaina Images and their Predominant Styles

Author(s): R N Misra
Publisher: Z_Tirthankar_Mahavir_Smruti_Granth_012001.pdf

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as well as South Kosala region. Certain mouldings on jangha have figures of Yakshas and Jinas. No less than twentyone figures of Yakshas appear here. However it is difficult to relate them to any definite iconographic tradition in absence. of their clear cognizances. The recesses and projections on the jangha follow a definite scheme of decoration regarding placement of motifs such as Apsaras, erotic figures, sansanadevis, upasakas, dikpalas, etc. But the vyala figures so commonly used in the other Kalachuri temples eveywhere are conspicuous by their absence here. The only notable exception in this is a loan vyala figure occupying a recess by the side of the Central Bhadra projection on the south face of the temple. The figures of non-Jaina deities e. g. Bhairawa (South face). Natesa (in a recess on south face) and Krishna Lila scene (in a recess of north face) also occur on the jangha of the temple. But the most spirited decorative figures belong to the miscellaneous group thrown around the various places on the walls of the temple representing dance groups, Warriors, wrestlers, etc. One such figure on the south face, upper band represents a flute player having two torsos aligned to a single head. Below him we have a drummer. The sikhara of the temple, a bhumija type, has the usual latas rising from bhadra; the lates have on them a series of panels containing Jina figures in a group of two or more.
its importance has recently been proven beyond doubt by Krishna Deva. 23 Stylistically, the decorative images on this temple do not show the contortion of limbs, a feature which otherwise is predominent in this region. So the inspiration as well as the execution of the temple. should he traced to some other locality preferably the Dahala region. That the Virateshwara temple of Sohagpur might have influenced the Bhandadeval is a probability accepted by Krishna Deva.
As regards the Dahala region, it is possible to determine the predominant idiom of sculptural style, their epicentres and their spread. Roughly stated, the early images following the Ardhanarishwara of Sagar University, tend to indicate simple decoration unencumbered with profuse ornamental features of the parikara. In the anthropomorphic form the distinctive features in images reflect an ovaloid face, a simple hair style or crown wherever found, and a short almost squatting proportions devoid of any exaggerated lateralism. The images of Jinas at Bina-Barha and those of Naiesa from Marh-Piparias and Bina Barha indicate these feature rather imphatically. These forms may be related to the 9th century. The 10th century however was a turning point in the artistic tradion of Dahala when the Kalachuri rulers invited the saints of Mattamayura sect into their territory and established several mathas for them. This seems to have brought out an upsurge both in quality as well as artistry of sculp
The temple on the whole is a unique monuments coming from this region and
23. Krishna Deva, Bhumija Temples (1975). pp. 110 ff.
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