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faina Monuments of Orissa
The asta-mangalas are worshipped in Jaina rites. The Achara-dinakāra, a Svetämbara text of the fourteenth century, attempts to explain the conception behind each of these symbols. According to it, the kalasa is worshipped because the Jina is verily like a kalasa in his family. The mirror is for seeing one's true self. The bhadrāsana is worshipped as it is sanctified by the feet of blessed Lord, the vardhamanaka is suggestive of increase of wealth, fame, merit, etc. It is said that the highest knowledge has manifested itself from the heart of the Jira in the form of the Srivatsa mark on his chest. Svastika, according to this text signifies sānti or peace. The nandyāvrata diagram with its nine points stands for the nine nidhis (treasures). The pair of fish, the symbol of cupids banner, is said to come to worship, the Jina has defeated the god of love. Obviously the above explanations are to be regarded as the Jaina conceptions behind the various symbols which seem to be of ancient Indian stock common to all sects.
The Digambara tradition gives the following set of astamangalas : (1) bhrngara, a type of vessel, (2) kalasa, the full vase, (3) darpana, the mirror, (4) chāmara, the fly-whisk, (5) dhvaja the banner, (6) Vyājana, the fan, (7) chhatra, the parasol, and (8) suprastistha, the asupicious seats.
Jaina traditions of both sects refer to Siddha yatanas (shrines of Siddhas) containing images of Tirthařkaras known as Sasvata Jinas. These images are of four Tirthankaras, namely, Chandrānana, Virasena, Rşabha and Vardhamāna. They are called Sasvata Jinas because in every Utsarpini or Avasarpint the names of these four Tirthankaras are always repeated. At the back of these idols of the Jinas are figures of umbrella bearers, gracefully holding white umbrellas, wreaths and garlands of flowers, extremely white and lustrous, like silver, the moon, etc. On each side of the image of the Jina are two figures of the fly-whisk bearers, in front of the Jina is a pair (one on each side) of Nāga figures of Yakşas, Bhutas and of the Kunda-dhāras (same as mangala-kalasas or pots of sandal wood paste), bhrngaras (jars), mirrors, dishes, vessels, seats, boxes of jewels of variegated hues, necks of horses, elephants, men, Kinnaras Kimpurasas, Mahorāgas, Gandharvas, bulls caskets of flowers, garlands, powders, mops of peacock feathers, baskets. (patalika) of flowers, lion thrones, umbrellas, fly-whisks, oil pots, pots containing various cosmetics and eight banners. The above description possibly fits to the standing images.
On comparison with available archaeological evidences, this account does not appear to reflect an age earlier than the early centuries of the Christian era. On the Jaina figures of this period obtained from Mathurā, we do find on each side of a Jina an attendant chauri bearer or a Naga figure with folded hands, and occasionally a mālädhara (garland bearer) on cach side at the top of the sculptures, an umbrella above the head of the Jina.
The above account makes no reference to the lanchanas of Jinas nor of figures of Śāsanadevatas which are also absent in Mathurā during Kushana period. Marks on
6. U.P. Shah, Jaina Art and Architectures, Vol. III, p. 492.
