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CHAPTER V SCULPTURE AND ICONOGRAPHY
The Jaina temples of Western India are rich in sculptures and decorative patterns, parti- cularly in the interior. In iconography also the images of the Jaina temples are rich. Here, how- ever, we do not aim at describing the sculptural
forms and iconographic features at great length but only to the extent they help us in ascertaining the chronology of the temples and in tracing the evolution of their architecture.
SCULPTURE The sculptures of the Jaina temples of our temples, is that they often do not belong to the region may be divided into eight broad categories. original temples but were installed from time to The first category includes the sculptures of the time, mostly during subsequent restorations. Jinas to whom the temples are dedicated. Besides
The second category consists of narratives (Figs. those worshipped in the sanctum, mandapas and devakulikās, they occur on the lalata of the door. 17, 21, 34, 45, 101, 102) which include pañcakalyān. lintel, on the ceilings, and rarely on the Sikhara and
akas (five auspicious events in the life of a Tirthanpillars. Executed completely in the round or high
kara, viz. Cyavana-descent from heaven, Janma-birth, or medium relief they are seated in padmāsana with
Diksa-initiation into monkhood, Kevalajñāna-attainthe body erect and the hands held in dhyānamudra
ment of right or perfect knowledge, and Nirvana(Fig. 6). In the standing attitude they are always
death) of the Jinas, their upasargas and bhavantaras represented in the kāyot sarga posture (Figs. 3, 47,
(life scenes), parents of 24 past, present and future
Jinas, Ācārya with disciples, Acāryas giving religious 88). Except for a diaphanous dhoti and an uşnisa,
discourse in front of the Caturvidhasamgha, Giranā. or beaded girdles, urujalaka and kațisätra, which are
ratirthavatāra, birth of Krşņa, story of Ardrakuconspicuous only in the standing attitude, their body
māra, fight between Bharata and Bahubali, Krsna is bare. The representation of drapery is in agree
subduing the snake Kāliya, Samudramanthana ment with the Svetämbara tradition, as the Digam.
scene, Krsna in Gokula, etc. The narratives are bara images are always made sky-clad. They generally
found only in the temples at Kumbharia and Abu. have a parasol over the head and a parikara decora.
In the beginning the scenes are carved in high relief, ted with attendant figures, cauri-bearers, eleph
and the figures therein show poise and movement, ants, makara, trumpeters and Mälädharas. Sometimes
To facilitate the visitors the scenes are provided the parikara displays figures of subsidiary Jinas,
with appropriate legends in the Mahavira and the and according to the number of Jina figures appea
Säntinātha temples at Kumbharia. But as the ring on it, it is called tritirthi, pañcatirthi, covisi
time goes on, the reliefs become shallow, the sculptand so on of such and such Jina. In case of Pärs.
ures show stiffness and the accessory figures incryanātha the parasol is formed of snake-hood. From
ease in number; the legends are minimised and at the aesthetic point of view the Jina images are the
last given up. least attractive sculptures of the Jaina pantheon, and except for the parikara we notice little differences The third category comprises images of gods in their form. Almost all the Jina images have squa- and goddesses, including Yaksas and Yaksis (Figs. rish facial features, columnlike limbs and langurous 14,85,104) of the Jinas, Vidyādevis (Figs. 13,18, appearence of form, and hence are of little importance 19,44), dikpalas (Fig. 71), Pratihāras, Vināyaka, to trace the evolution of the temple-style. Another Sarasvati and Lakşmi (Fig. 20). These images drawback of the Jina images, now preserved in the are found on the pitha, mandovara, śikhara, door
, including
85,104)
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