________________
226
Jaina Monuments of Orissa
forehead of the figure of Navamuni-Gumphā. Flying figures with garlands and oval or circular shaped haloes are also appearing in some cases. The attributes in her respective hands are given below. The one at Suai and the other on the verandah wall of Bārabhuji Gumphā depict Ajitanātha in yogāsana posture on the top of the Sāsanadevi. These votive figures of Ajitanātha also with the mark of cognizance (elephant), the kevala tree, chauri bearers and flying Gandharvas holding garlands in hands are also provided.
The four armed figure of Navamuni-Gumphã is shown in the right with abhayamudrā and vajra and the left a goad and a three-pronged object.
The twelve armed image of the verandah wall of Bārabhuji-Gumphā does not agree with textual descriptions. It is locally worshipped as Bārabhuji (Durga) image along with the Chakreśvarī image carved in its front wall.
Among the attributes, the vara, a banner, ankuša (goad) and disc in right-hands and a samkha (?) water-pot twig or tridandi and a disc in left are recognizable.
The second twelve-armed Rohini figure within the group of Sasanadevis of the same cave like the first also remarkably differ from textual descriptions, in respect of attributes held in hands. One of her right hands is in Varada mudrā, among other attributes only spear or arrow and a sword are recognizable. Her left hands hold a noose (?), bow, hala shield, stalk of a lotus and ghanta (?), the last being held against her chest.
The third twelve-armed Rohini of Suai is shown seated in padmāsana pose with palms of lower two hands kept one over the other. Of the other five hands of the right side one is broken and the rest represent vajra, sword, disc and arrow and the five left hands are provided with vessel, shield, bell, tridandi and bow.
All the four Rohini figures are elaborately decorated with lower garment, śāri, girdle, anklets, necklace, earrings, bangles and ornaments for the head.
The attributes in hands of the four-armed Rohiņi of Navamuni-Gumphā and also of her mount, the elephant also connects her with the mātrika, Indrani, the sākti of Indra. The third eye placed horizontally over her forehead strengthens this supposition.
3. Prajwapti
Prajfāpti, the Saasan adevī of the third Tirthankara, Sambhavanātha is repeated in two caves i.e. Navamuni Gumphā ad Bārabhuji-Gumphā of Khandagiri hill.
The mount in case of both the figures is badly damaged. The available portions of the mount in Bārabhuji-Gumphā have more similarity with an animal rather than a bird prescribed in the text. The pedestals on which the figure is seated are either designed plain or with a double petalled lotus flower. The image in Navamuni-Gumphā
