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Jaina Iconography of Orissa
The Manasara (V. 71-95), a text on architecture, assigned to circa sixth century A.D. supplies some more informations about Jaina iconography. It says about the Jaina image that it should have two arms, two eyes, and the head should be clean shaven and there should be a top knot. And again there should be no ornaments and no clothes on any part of the body of the Jina figure which should be attractive (beautiful). The Srivatsa mark, should be set in gold over the chest.
The Manasara further says that the Jina figure should be into a straight, erect or sitting posture. The legs should be uniformly straight and the two long hands should be in the same posture. In the sitting posture, the two feet are placed on the lotus seat, the whole image being in a stiff attitude and bearing a meditative look on the supreme soul. The right and left hands should be placed with palm upwards.
The image should be placed upon a throne in an erect or sitting posture. At its top (back?) should be a pinnacle and a crocodile arch. Above that should be the Kalpa tree together with the royal elephant and such other images.
According to the same text, the image should further be accompanied by Narada and other sages as well as assembly of Gods and Goddesses in a praying attitude. The Yaksas and Vidyadharas and other demi-Gods and kings except Chakravartini should also be carved in the same attitude. It should also be shown as being worshipped by Nagendra and the Lords of the quarters together with the Yaksas. The Yaksas and Yakşelvara are placed on the side, serving with raised chauries.
The Manasara refers to the Digambara image, but except the nakedness other characteristics are common to both Svetambara and the Digambara images. All the attendant Gods, Narada especially are not represented in the parikara of any Jaina image known hitherto but chauri bearing Yaksas, Nagas, elephant riders, drumbeaters, Gandharvas or Vidyadhara pairs, etc. are well known in the advanced stage of Jina image with a full parikara. The chief characteristics of a Jina image are the same, namely, long arms, a beautiful young figure, eyes centred on nose tip in meditation and the śrivatsa mark on the chest.
Both the Digambara and Svetämbara sects note the complexions of the Tirthankaras in a similar pattern. Sixteen Tirthankaras except the following were golden in complexion. Chandraprabha and Puspadanta were white, Suparśva and Parsva were greenish (harita), Muni Suvrata and Neminatha were dark-blue and Padmaprabha and Vāṣupujya were red like the coral or lotus.
That four of the Tirthankaras were held particularly sacred by the Jaina community of Mathura is proved by the find of several quadruple images called Pratima sarvatobhadrika (known as chaumukha-pratima in later periods) in the dedicatory inscriptions, one being dated in the year 5, presumably of Kaniska. These interesting type of
