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Historical and Cultural Background
karas, who are regarded as liberated souls. Among these Ṛṣabha, Nemi, Parsva and Mahavira appear to be more popular, as the temples dedicated to them are greater in number. Rarely we find temples dedicated to Ajita, Santi and Sambhava. Many of the temples of our period are surrounded by 24, 52 or 72 smaller cells called devakulikās, which are also dedicated to Tirthankaras. From the introduction of the devakulikäs the other Tirthankaras of the Jaina pantheon were also accorded due honour in one and the same temple. This facilitated the devotees to pay their obeisance to almost all the Tirthankaras at one place. The Tirthankaras in the Jaina temples are worshipped almost in the same manner as the Hindu gods and goddesses are done in the Hindu temples.
The twenty-four Tirthankaras are the main object of worship in the Jaina temples, and so they are given foremost position in the Jaina pantheon, Next in order come their attendant figures called the Sasanadevatās. Each Tirthankara has a Sasanadeva (Yakṣa) and Sasanadevi (Yaksi) of his own. They are represented either independently or attending upon the Tirthankaras. As attendant figures they are found depicted both on the threshold of the doorframe and on the stele of the Jina image. In this respect the Yaksas and Yaksis might draw at least some attention of the devotees at the time of worship. At other places they just form a part of embellishment of the temples. Among the Yaksis the images of Cakreśvari and Ambika are frequently seen, while among the Yakṣas the figures of Sarvanubhuti and Brahmaśānti are most popular. The images of the remaining Yaksas and Yaksis are occasionally noticed.
Like the Hindus and the Buddhists, the Jainas also conceived their own pantheon, which includes, besides the Tirthankaras and their Śasanadevatās, sixteen Vidyadevis, eight dikpalas, Lakṣmi, Sarasvati, Vinayaka, Naigameşin, Vidyadhara, Kinnara and Pratihāra, some of which seem to have been borrowed from the Hindu pantheon. All these divinities are found represented on the various parts of the temples and thus constitute a part of embellishment rather than an object of worship. Among these the representation of Vidyadevis is frequently noticed on the Jaina temples of our
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region. They are shown in their individual form as well as in a set of sixteen (Fig. 44). One of the corridor ceilings in the Vimalavasahi at Abu displays four Vidyadevis along the diagonals of a square. The Vidyadevis generally occur on the wall, doorjambs, pillar-shafts, ceilings and the rathikas of the sikhara..
Laksmi and Sarasvati occupy a respectable posi tion in the Jaina pantheon. Generally they occur on the ceilings of the temples; at times they are found on the pitha of the sanctum. An image of Sarasvati has been noticed as early as the Kuşaṇa period, 356 and her images continued to make their appearance down to our period through Vasantagadh, Akota and possibly Pallu (Bikaner), 857 the last one having produced some wonderful images of Sarasvati. She has been given due respect in the Jaina temples of our region, as, apart from other places in the temples, one whole ceiling in the Vimalavasahi at Abu and the rathikas of the Ajitanatha temple at Taranga and the Sambhavanätha temple at Kumbharia are alloted to her.
Compared to Sarasvati the images of Laksmi are more commonly noticed in the Jaina temples in her individual form as well as with two of the period under discussion. She is represented elephants showering water over her. In the latter form called Gajalaksmi she appears to have drawn considerable attention of the artist, as one whole ceiling in the Vimalavasahi at Abu is alloted to her (Fig. 20).
The images of Vinayaka (Ganesa) are rarely found. So far only two images have come down to us; one of these occurs on the pitha of the Neminatha temple at Kumbharia, and the other hails from the Mahavira temple at Kanthkot. Both these are small pieces.
The eight dikpalas are represented in their correct position on the walls of the temples. In the Santinatha temple at Kumbharia and the Vimalavasahi at Abu they also occur in the ceilings.
Naigameşin, an attendant of Śakra (Indra), is known to have transferred the foetus of Mahavira from the womp of Brahmani Sunanda to that of Ksatriyāņi Trisala. This story is found depicted in the Svetambara literature only, and since all the
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