Jaina Stupa At Mathura Art And Icons

Author(s): Renuka J Porwal
Publisher: Prachya Vidyapith

Page 68

The Tradition of Stūpa in Jainism
Mostly Jina images are depicted with Usnisa, Śrīvatsa, Cavardhāris and devotees; its pedestal serves the development in belongings of ascetics of both traditions-Shtavīra Kalpi & Jina Kalpi (with and without lower linen).
The Jina image of Rsabha is carved with locks of hair falling on his shoulders (fig. 43). He did not perform Pañca-musthi Loca (Pulling out the hair from five places on head) as other Jinas, but kept two locks as requested by Indra. His image with such carving is available from the Kuşāna era onwards. Pārsvanātha is depicted with canopy of Dharanendra (fig. 44). The carving of the Neminātha image with the company of Krsna-Balarāma (fig. 45) available since the Kuşāņa period discontinued after the late Gupta period, though one such image of medieval period is found from Dempier Nagar, Mathurā77. This is a unique feature of Mathurā's art school for carving Aristanemi image. The depiction of all 24 Jinas was not in vogue during Kuşāņa period, but Rşabha, Nemi, Pārśva could be recognised with their characteristic appearance while Mahāvīra, Munisuvrata, śāntinātha and Sambhavanātha could be known by their names in inscriptions. Out of 119 Tīrthankaras figures available from Mathurā, 93 are in sitting posture (padmāsana), while others are in the standing position (khadagāsana). Standing figures are without lower linen but their eyes are open, while in the padmāsana figures nudity is not visible. Dr. U. P. Shah suggests that the difference between the Jina image of the Svetāmbara and the Digambara in respect of nudity didn't exist in Kuşāņa and in Gupta Period. Here, there is no hint of separation. It seems that the difference between the carvings of images in both sects may have started in post Gupta period78. The earliest image available from Mathurā is of 2nd B.C. On the Āyāgapatta of Sivaghosika, Pārsvanātha is carved with Gañadharas. Here the gradual evolution in the art of image making, is seen.
2.12 The deities assimilated in Jaina pantheon:
While studying the sculptures of Mathurā school, it appears that the adoration of Yaksa-Yaksī cult was already in practice. The depiction
77 Cat. of Jaina anti.in Mathurā Museum, 2003, pp. 142. accn. no. 2000.42 MM. 78 Shah U. P., Studies in Jaina..., 1955, pp - 11