Jinamanjari 1996 04 No 13

Author(s): Jinamanjari
Publisher: Canada Bramhi Jain Society Publication

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throughout different periods of history can be examined in an effort to locate apparent similarities in function and setting that suggest further similarities of meaning.
However, in trying to work backwards in establishing the meanings of past imagery in light of present ideologies one must be extremely cautious not to impose meanings where they do not belong in hope of establishing the ancient roots of contemporary practices. In fact, some excellent scholars have, according to S.P. Gupta, made exactly this mistake in attempting to link aspects of Jainism to the Indus culture. For instance, he questions U.P. Shah's prudence in identifying a 100 B.C.E. bronze image of Parsvanatha in the Prince of Wales Museum as being "modelled in the Indus style", a style which Shah identifies as having continued to the Mauryan period. Gupta challenges Shah's claim by pointing out that there is no physical evidence on which to base this 1,600 year stylistic continuity and he introduces archaeological evidence which further undermines Shah's conclusion. Specifically, Gupta points out that the construction techniques employed in the production of the Parsvanatha image suggest a re-discovery of the cire perdue (lost wax) method of casting bronze rather than a continuity from the Indus culture. Furthermore, if the entire technique of casting was lost it is unlikely that the artistic style would have remained intact.3
Likewise, S.P. Gupta challenges M.N. Deshpande' s claim regarding the links betweeen Jain practice and a standing figure portrayed on an Indus culture steatite seal. Specifically, the seal depicts a man standing in what appears to be the kayotsarga-posture. the presence of this posture on a seal lead Deshpande to conclude that this "distinctive practice of the Jain ascetics in their performance of penance had its roots in Harappan art."4 Gupta rightly challenges this hasty conclusion by referring to the headdress, armlets and subsidiary figures represented on the seal which have no connection to Jain practice and hence seriously problematize any identification of
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