Jinamanjari 2002 04 No 25

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

Page 25

others as either seated or standing in the air and offering worship to the Jina. Below the simhāsana must be the figures of (other) Jinas in a worshipping attitude; these are the Siddhas, the Sugandhas, Chiāhantu (Arhats), Jina and Pārsvakas; these five classes are known by the name of panca-paramēshtins. The complexion of these are respectively known by the sphatika (crystal), white, red, black and yellow. The central Jina figure should be shaped according to the uttama-daśa-tāla measure, whereas those of the dēvatas and the twenty-four Tirthankaras surrounding him in the other (madhyama and adhama) daśa-tāla measure. The body should be of the dvārapālakas named Canda and Mahācaņda respectively."
The poet Dhanapala, in his work the Tilakamañjari, has given the iconographic aspect of sculpture as he has described the images of Rşabha and Mahāvira, the first on mount Ekaśnga and the latter at the sanctum of the temple at Ratnakūta respectively.
Rşabha image was carved out of the philosopher's stone, set on a lion-throne bearing the frescoed motifs of a group of constellations, a deer and a lion. The posture was of padmāsana with the palms placed upright in the lap. The curls of hair reaching both the shoulders had foliage decorations. The ends of the eyes seemed to touch the root of the ears; the eye-brows slightly fallen suggestive of the state of perfect mental poise and total absence of perturbation. The face resembled the lunar disc; Indras on both sides carrying white cămara; a circular halo around the face, three white parasols, flying deities some playing divine trumpets, some showering flowers, some nymphs on aeroplanes. All these features which are known technically as parikara in Jaina iconography.
The image of Mahāvira at Ratnakūta, according to Dhanapala, was carved in a diamond slab and was set on a huge golden throne.
The noted art-historian Dr. U.P. Shah has done an extensive study of the Jaina icons and the relevant literature bearing on the architecture in his doctoral thesis submitted to the University of Bombay."
According to Dr. Krishnadeva, the Jaina sculptures may be divided into five broad categories: - (1) Images which generally stand in sama-bhanga having a large prabhāvaļi carved in the round or in high-relief in strict conformity with the canonical formulae and prescriptions of proportions.
(2) Laksaņa-s and lāñchana-s. (3) Yakşa-yaksis and ūvaraña-dēvată-s in standing tribhaña or seated in lalitāsana with crown or mukuța in