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Jaina Monuments of Orissa
sculpture, the keynote to recognise, is the presence of a small Jina figure on the top of the statue. Each Tirthankara (except their representation in Mathura) is recognisable by cognizance or china usually placed below the image. The figures of Ṛsabhanatha and Pārsvanatha have matted locks of hairs falling on the shoulders and canopy of a seven hooded snake overhead respectively. From the Gupta period onwards not only we find the chaur bearers on either sides but also the lasichana conspicuously present along with the Jaina Tirthankara figure.
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Archaeological remains are abundant to show the popularity of Jaina faith, art and culture in different parts of Orissa during the early and later medieval periods. Podasingidi and Vaidakhia located in the Baula range hills of Keonjhar district yielded a number of Jaina icons in stone belonging to the early phase. The inscribed Rṣabha figure of this place is seated in meditative pose on a lotus pedestal with a bull below. In front of the bull seems to be a lamp and two devotees kneeling with their hands joined in adoration. On the top are flying Gandharvas with garland in hadns and the oval halo behind head. The figure has a well proportioned body, with half closed eyes indicating meditation, curly hair, an uşnila and elongated ears in Gupta tradition. The texture of stone of this image is composed of white and black bands giving an impression of transparent upper garment.
The second Rsabhanatha image from this place as finds place in the Orissa State Museum (Fig. 87) is designed in kayotsarga pose on a lion throne with chaur bearers, flying figures with garlands, heavenly music, trilinear umbrella, halo and lanchana, the bull. It too displays the characteristic features of Gupta tradition, half closed eyes, elongated ears and a beautiful jaṭabhara as head dress with some locks falling on the shoulders. The body is proportionate and graceful. Both the figures are given a date. in the 8th century A.D.
The Tirthankara images of Charampa (Figs. 102 and 103) are distinguished by deep-cut marks on the body. It is difficult to explain the significance of these marks which do not seem to be accidental. It is quite possible that through these marks the artist has tried to indicate the rigours of the austerities which the Tirthankara had to go through to attain knowledge and emancipation.
On the inner walls of Navamuni-Gumphã of Khandagiri are carved in high relief the figures of a number of Tirthankaras and Sasanadevis (Fig. 35). These Tirthankaras have their usual characteristics such as three tiered umbrellas flanked by a pair of hands playing on cymbals and attendants with fly-whisks. But none of them has a halo at the back or the auspicious frivatsa mark on the chest. The treatment of the coiffure is varied. The Sasanadevis decked with elegant ornaments, wore dhotis and transparent scarves cover their bodies and left shoulders.
In the Barabhujt-Gumpha we find altogether twenty-five figures of Tirthankaras, Pärsvanatha being repeated twice covering the three walls of the inner chamber. The Pārsvanatha figure standing at the commencement of the series is larger in size than the
