________________
faina Art of Orissa
191
On close examination of the Jaina icons in stone of different periods in Orissa it is evident that each of the twenty-four Tirthankaras and Sāsanadevīs has traditionally a sign or mark known as lāñchana specially attributed to him or her. Jaina Tirthankara images being very similar to each other, it was perhaps thought necessary to assign marks to each of them for purposes of distinction. In the absence of lañchanas, inscriptions, hair style and attendants are the only available means for identification of individual Tirthankaras. These marks are usually carved at the centre of the pedestal just below the lotus seat or at times in front of the central lotus petal. These marks usually consist of animals, birds, reptiles, flowers and objects like pitchers, conch-shells, vajra, moon, svastika, nandyāvrata, etc. and convey artistic tradition of the period of their execution.
The Tirthankaras, Sāsanadevis and other Jaina divinities are each provided with some kind of seat whose material contents however cannot be determined in stone. In earlier varieties these seats are left plain. In its developed phase their upper parts were fashioned in one or two rows of petals of lotus flowers. In exceptional cases, decorative covering was spread over the lotus seat, a portion of which even seen falling in front. These lotus seats also on some cases were supported by lions either seated at ease facing to the front or rampart or seated back to back flanking the mark of cognizance carved in the centre of the pedestal. In cases of bronze icons the lotus seat is supported by an oval or rectangular hollowed base supported by legs at each corner. In rare instances instead of the lions we notice Gajasinha motifs or emblems of the Tirthankara like that of Neminatha were also supporting the pedestal.
Besides the mark of cognizance and the supporting animals the stem of the lotus flower at times seen originating from the bottom of the pedestals in highly finished icons. Devotees in kneeling position and folded hands, heaps of offerings at times on separate pedestals, figures of Yakşas and Yakşiņis displaying emblems in hands and mount are also noticed in the lower parts of the pedestals. With all Parsvanatha figures Nāga kanyās or Nāga devotees are a normal feature of representation within the pedestal in addition to the coiled snake.
Chauri bearers are invariably represented in standing fashion with fly-whisks in hands across their shoulders. The chauri is held in one hand and the other rests on the hip. In some cases these figures flank the Tirthankaras standing on the same common pedestal, but in other cases separate lotus pedestals or elephants are provided to them. The chauri bearers of the first Rşabhanātha image of Cave No. 10 of Khandagiri are shown above the graha figures leaving the conventional place. In all cases they are profusely decked with costumes and decorative ornaments, though the Tirthankaras to whom they attend are shown naked. These chauri bearers are not traced with the figure No. 11 of Balasore Museum and Chandraprabha image of Narasimhapur temple in Jajpur area. At least two Rşabhanātha figures from Suai and one Mahāvīra figure in the reserve collection of Orissa State Museum represent their attending divinities with champak flowers in hand instead of the conventional fly-whisk.
