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All figures in the sculpture are carved in relief work on a marble slab imported from Gujarat and said to be a piece of temple architecture.
IV. Sculpture of 15th and 19th Centuries C.E. (Rajasthan)
The Rajasthan region with its various sculptural centres and abundant resources of white marble has been producing exporting marble products to various parts of the country throughout the ages, but especially since the nineteenth century. The Musem is fortunate to have acquired some beautiful Jaina sculptures made from this Rajasthan marble.
The figure of Parsvanatha is seen in padmasana with his hands in meditation clasp (see plate 5). He has elongated ears and curly hair. His graceful face, slender waist and broad chest denotes of calmness and serenity and nobility too. A diamond figure is carved on the chest of the image as srivatsa. The snake, an emblem of Parsvanatha, with its seven- hooded snake tops the twenty-third Tirthankara. The pedestal is inscribed in a Devanagari script that depicts the dating of the figure to Vikram Samvat 1548 (c.1490 AD.). The figure was purchased in 1984 by the Museum through purchase committee, and is said to be imported from the provenance of Rajasthan.
The figure of Parsvanatha, the twenty-third Tirthankara, is seen sitting in padmasana under the canopy of a nine-headed snake whose tail reaches down to the pedestal along the spine of the image (see plate 6). He is in dhyanamudra and is devoid of any garments, but does have srivatsa on his chest. The slender waist, broad shoulders, etc., bespeaks of calmness and dignity. A four-petal flower and a knot are carved prominently on the pedestal. Unlike the other SJM Parsvanatha sculptures, this image has been covered on the head by a serpent with nine instead of seven,
The figure here is shown seated in the meditation pose in which the Tirthankara achieved enlightenment, the asana pose. Among the twenty-four Jaina Tirthankaras Mahavira, Parsvanatha, Neminatha and Rshabhanatha (or Adinatha) had their enlightenment while practicing austerities in this pose, and beneath their respective kevala trees. The sculpture collected by the Salar Jung, is said to be of the provenance of Jaipur, Rajasthan (see plate 7).
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