Jaina Stupa At Mathura Art And Icons

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

Page 90

Mathura School of Jaina Art
89
from Candravalli in Mysore district have such depiction. They had carving of six small raised heaps in an arch with crescent, svastika as well as śrīvatsa and such pairs of fish below the heaps. The above objects are auspicious as they provide subha/Mangala/all well to its owners and viewers.
3.8 Jaina Shrines of Earlier Period:
According to Acaranga-sūtra32, Mahāvīra was attended upon by the four orders of deities Bhavanapati, Vanavyantara, Jyotiṣika and Vaimānika where he was meditating. Indra worshipped him after he erected a pavilion, where Mahāvīra is seated on a throne.
Jaina tradition have references of Siddhāyatanas, Yakṣāyatanas and Arhatayanas in their literature. Detailed description of eternal shrines (Siddhayātanas) or śasvata-caityas situated in various heavens and on several mountain peaks is referred to in many scriptures. Nandiśvaradvīpa has fifty-two Siddhāyatanas. This may be one of the reasons that many Jaina shrines are established with fifty one small shrines and a main at centre, known as bāvanajinālaya. Likewise the still larger shrine having seventy-one small shrines and a main larger is known as bomterajinālaya. Here 24 Tirthankaras of past, present and future are adored.
3.9 Iconography of Jaina images:
The word icon stands for an image, while graph for writing or describing; thus iconography is a description of an image with an elucidation of pedestal and nimbus or prabhāmaṇḍala or aura. It is influenced by period, place, artist, donor, geographical condition, availability of material, finance and the patronage. Therefore Jina images vary from Kṣatrapa to medieval period, and in various art schools of different regions. The life incidents of Jinas and deities also play important role in image carving.
It is rather difficult to study iconography of Jaina images as both Jainism and Buddhism have many common features in carving. The main difference between Buddha and a Jina image is that a former does not bear any religious mark on chest as it is covered with upper linen, while the latter is invariably given the mark of śrīvatsa since Kuṣāṇa period.
India is a vast country having different schools of art developed in various states patronised by local kings. The Sicri dotted red stone is
32 Acaranga-sutra, 15th Adhyayana, sutra -753.