________________
Jaina Art of Orissa
183
It appears that the haloes and parasols (chhatras) in most cases were moulded separately. In several specimens, the haloes were found to be wielded to the images. In a few cases there are sockets provided in the seats and pedestals of the images to receive legs of the haloes. The stick of the parasols was normally soldered to the haloes. However in some specimens it passed in the back side of the image. Where the haloes are not solid, supporting rods were used to connect them with the back side of the images".
Though the composition of their alloys has not been chemically analysed which is necessary for satisfying them as true bronze (which is an alloy of copper, the basic material and tin to a proportion of about eight to one) or otherwise, these metal objects are being described as bronzes following the common usages.
As indicated earlier the icons in bronze (copper) of Khuntapala comprise of three of Pārsvanātha, three of Rşabhanātha two of Ambika and one Tirthankara whose identity is difficult at this stage. They are in badly damaging condition. In several cases portions of these figures including the lāñchana, fingers in hands, pedestals and decorative arches are mutilated and even missing. The Pārsvanātha figures were provided with a canopy of snake hoods. Similarly the Rşabhanātha figures are identifiable due to the prevalence of jațābhāra, a few strands of which fall on the shoulders. The Ambikā figures are seen holding baby on their laps, lion as lāñchana and bunch of mangoes in hands. The Tirthankaras are fashioned both in standing and seated posture on plain pedestals but in some cases lotus pedestals have been carved on plain footed seats. In standing figures the hands are stretched up to the knee and chest broadened to display youthful vigour. Hairs on the head of these Tirthankaras except Rşabhanātha are arranged in curled knots with occasional display of uşnisa at the centre. In case of Rşabhanatha, they are designed in matted locks and placed one strand above the other. Lower most strands of these locks are spreading over the shoulders, a feature also available with all Rşabhanātha figures fashioned in stone. Haloes in most cases are not visible but at least in one Pasívanātha figure it is in eliptical shape. Decorative arches originating from the pedestal are seen with a pointed top. Their sides are fashioned with rows of beads, petals or radiating flames. In most cases, however, they are in broken condition. The second Ambikā figure of the place is profusely decked with drapery running up to her ankles. Her decorative body ornaments consist of necklace, earrings, girdle, bangles and anklets. The smoothness of body and treatment of facial expression are unfortunately missing due to weathering condition. The Sarakas settling in Mayurbhanja district were once proficient in smelting copper and the casting of these figures may be attributed to them in the early medieval period.
The Pārsvanātha image of Bhanpur (Fig. 79) worshipped at present as Ananta Väsudeva is in good condition. It is designed standing in kāyotsarga pose on a circular lotus pedestal supported by a square base with legs. A canopy of seven hooded snake is seen over his head. The auspicious Srivatsa mark, a rare occurrence in Orissa is noticed on its chest. Hairs on the head are arranged in spiral knots with uşnisa at the centre. The Yakşa figures in its sides are also shown with canopy of a three hooded snake.
