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direction. These fourfold images, later on known as caumukha-pratimā on account of their facing four directions, have remained popular in Jaioa worship of both the sects. The sarvatobhadrikā (pratimā) images from Kankāli Tila, Mathurå, date from the Kuşāna period.
An image of Sarasvati of this period, is also found from Mathura. Incidents from lives of Tirthankaras and reliefs depicting scenes from Jaina mythology seem to have been existing in Jaina art at Mathura, as is evident from a figure (assignable to c. second or early first century B.C.) depicting the dance of Nilãojanā (wife of Rşbhantaha) or another figure illustrating Hariņegamesin, (commander of Indra's infantry) associated with child-birth and transfer of embryo, etc.
The full parikara obtained on Tirthankara images of early mediaeval age is not yet evolved, and only the halo, and the caityatree and flying Vidyadharas or garland-bearers, heavenly musicians, etc. are depicted in relief. There is no cognizance, nor the Yakşa pair associated with any Jina image from Mathurā of the Kuşana period, Instead of the attendant standing Càmaradhara Yakşa on each side of the Jina, we obtain in the early stages of Tirthankara iconography, a donor and his wife or more generally a monk on each side, or a monk and a nun on the two sides of the Jina. The Jina sits on a simhāsana, with lions on two ends and the dharma-cakra in the centre flanked by sādhus, sådhvis, śrāvakas and śrāvikās.
The Twenty-four Tirthankaras
During this period, the twenty-four Tirthankaras had no recognizing symbols (cognizances-lāñchanas), seen on later sculptures. Jina was identified only with the help of his name given in the motive inscription on the pedestal of his image. During the Kuşāna period at Mathura, we find evidence of the worship of only a few Tirthankaras, namely, Rşabhanātha, Neminátha, Parsvanatha and Mahavira. The famous pedestal of an image of Arhat Nandyavarta dated in the years 299 (year 199 according to Dr. Lohouzen-de-Leeuw) according to an inscription on it. This inscription, recently correctly read by K. D. Bajpai refers to the worship of Munisuvrata (the twentieth Jina). Smith has published an image which, according to the inscription on it, is of Sambhavanatha, the third Jina, installed in the year 190. Thus the list of 24 Tirthańkaras was already evolved or was in the process of being enlarged, in the age of these sculptures, in the second or third century A, D.
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