Jinamanjari 1996 04 No 13

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

Page 71

Harappa and Jainism
T.N. Ramachandran Retired Officer, Archaeological Survey of India
The most impressive extant products of the Indus civilization are their stone sculptures. A total of thirteen pieces of statuary including two well-known and much discussed stone statuettes from Harappa have come to light. Of these, three statues represent animal figures and five represent what has been designated the stereotyped squatting gods.
Two particular statuettes, however, have revolutionized existing notions about ancient Indian art. Both these male torsos, less than four inches in height have socket holes in the neck and shoulder for the attachment of heads and arms. The torsos exhibit what many have called a sensitive modelling that was both firm and resilient. From an artistic perspective, the body of the torso can be described as an unrestrained lifeforce pressing from within, activating every particle of the surface of the stone and appearing to be in the throes of a subtle and rumbling movement emanating from the core of the body. Despite only being three and a quarter inches high, the massive torso, in short, records an inner movement of life within the walls of the body. This physical variety is to continue through the ages as the veritable standard in Indian art for divinities, particularly those which represent creative activity held under control (jitendryia) such as the Jaina tirthankaras or deities deep in penance or meditation.
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