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The other Excavated Artefacts of Mathurā
155
“The ancient art of the Jainas didn't differ materially from that of the Buddhists. Both sects used the same ornaments, the same artistic motives and the same sacred symbols for depiction of their sculptures. The differences occurring chiefly in minor points only. The cause of this agreement is in all probability, not that adherents of one sect imitated those of the other, but that both drew on the national art of India and employed the same artists”. 66 The uşnişa was invariably depicted on Buddha images but the same was not carved on Jaina images of Kuşāņa period, though some of the images of pre Kuşāņa period are available with uşnişa (fig. 105). Most of the Jina images of Kuşāņa period are without uşnişa, but later on they were depicted with uşnişa as seen in Western Indian School and late Kuşāņa period. The head of Jina is covered with curls carved in various ways. The inscribed Aristanemi from Rajgiri of Gupta period has usnișa. Dr. Leeuw elucidates the term uşnişa after referring to the views of Coomarswami, Bulhar and Foucher that the word uşnişa originally did not mean "protuberance of the skull” but turban.67 In ancient period the turban was one of the principle symbol of dignity therefore yakşas and other supernatural and royal beings shown wearing turban. Buddha was represented with top knot of hair. Dr. Lohuizen reveals that in Mahapuruşa characteristics uşnişa laksana is also mentioned68. Regarding Jina images, Coomarswami explained that they show uşnişa in initial period. He even concluded that Jina figures have gone through the same development as the Buddha images so far as their hair dressing is concerned.69 In early Buddhist art, Buddha was not represented in human form so Bodhi tree as a symbolic representation gained more importance, while Jinas were represented in human form so the caitya tree is shown over his head. The separate worship of caitya tree was in vogue since early time, one such symbolic tree in bronze is obtained from Causa. There is a reference of donating golden kalpavrkşas to Brahmanas70 by King Kharvela as noted by him in the inscription at Udaygiri-Khandagiri. The śrīvatsa mark on chest of Jinas became characteristic in Kuşāna period and onwards. The Buddha image draped over the chest, so the śrīvatsa mark was depicted on the palm of Buddha image.
66 G. Bulhar, Specimens of Jaina Sculptures from Mathurā, Ep. I. vol.2, 1894.pp, 322, Dr.
J.E.V.L. Leeuw, op.cit., pp152. 67 Dr. J.E.V.L. Leeuw, The Scythian Period, (Leiden, E. J. Brill, 1949), pp. 169. 68 Ibid, pl 67. 69 Ibid, pp 167. 70 Nineth line in king Kharvela's inscription.
