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Jaina Iconography of Orissa
near the dharmachakra symbol of the figures of Kachela and B. Singpur respectively. Similarly Sidhyika, the Sasanadert of the Tirthankara is noticed below the pedestal of the figures of Suai, Kachela, Bhagavati temple of Jeypore, two images in the Orissa State Museum, B. Singpur and Boriguma, all from Keraput district.
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The two principal names by which he was known were Vardhamana and Mahavira. The first name is explained as, since the prince was placed in the womb of the Ksatriyani Trisala this family's (treasure) cf gold, silver, riches, corn, jewels, pearls, shells, precious stones and corals increased, therefore, the prince shall be called Vardhamana (i.e. increasing). He was called Vira or Mahavira in as much as he specially sent away the deeds (Karmas). His symbol of the lion is the most befitting mark of his spiritual heroism. His forbearance, his austerities, his strenuous work in the path of destroying work are all unmistakable proofs of his lion-like. personality. His Sasanadevi, Siddhayika has also the symbol of lion as her vehicle. His Yakta Matanga riding an elephant personifies the royal power, which was associated with Vardhamana in his worldly as well as in his spiritual life, informs, B.C. Bhattacharya.
There is a regular order based on chronology in the arrangement of the Tirthankaras having characteristic symbols. This order has been reversed in some cases of Mahavira-Gumphã of Khandagiri where we find all the Tirthankaras are depicted in the walls of its inner chamber. The reversal order in these cases is probably due to the ignorance and inadvertence of the sculptors. Their ignorance is evidenced by the introduction of imaginary symbols not mentioned in the Jaina scriptures i.e. with the ninth and the eighteenth figures.
1. Chakreśvari
SASANADEVIS
Independent figures of Chakresvari, the Sasanadevi of Rabhanatha, the first Tirthankara of the Jaina pantheon are noticed at Suai and Jeypore (Fig.121), of Koraput district, and Navamunt-Gumphá (Fig.35) and Bärabhuji-Gumpha (Fig.37) of Khandagiri hill in Puri district. In addition her figures are also shown below the pedestal of a number of Rsabhanatha figures found at places like Suai (Figs. 113, 115 &116), Kachela, Jeypore (Kali temple) (Fig.123), B. Singpur, Charmula, Kotapata, Jamunda and Kamata of Koraput district. In all such cases she is depicted scated either in lalitäsana or padmasana pose on Garuda carved below her lotus pedestal. She has been represented in two, four, six, ten, twelve and sixteen arms with attributes displayed in each of them. In independent figures, her Tirthankara, Rṣabhanatha is invariably shown seated in meditative attitude at the top with attributes like lanchana the bull, chauri bearers, halo, flying figures with garlands in hands, trilinear umbrella, the kevala tree and at times cymbals. played in hands of invisible Gandharvas. Apart from Garuda, the traditional mount, we notice a crane (or peacock) and a pitcher in the pedestal of her image in the verandah wall of Barabhuji-Gumphā.
28. Ibid, p. 90.
