________________
Identification of two jain Bronzes
315
matter, particularly Karnataka and Tamil Nadu had great dynasties often dedicated to Jainism, Thus, we observe that kings from Pallava to Kalachuri to Hoysala, royal families were devoted to Jainism and its spread; and there are umpteen numbers of monuments, sculptures and other artifacts testifying to this fact.
The Western Gangas had made Jainism almost the religion of the state and were the great patrons of Jain teachers. This is where Jainism continued to flourish because of the abiding and stable relationship with the ruling Ganga dynasty (ca 5th 6th cent. A.D.) Moreso, it was because of Acharya Simhanandi, a revered Jain monk, that the dynasty was firmly established around ca. 3rd cent. A.D. Chamundaraya, the great general of Marasimha, the Ganga King, was the architect of the colossal statue of Bahubali of Sravanabel gola in A.D. 9823 which became the holiest of the Jain Tirthas in India.
The successors of the Gangas were the Hoysalas who also were the supporters of the Jains. Thus, it is apparent that from 3rd till the 14th century, the Digambara communities in Karnataka flourished and were able to built temples. consecrate holy images in stone and metal without any hindrance from outside; which is evident from the two metal images being discussed here. With such a long tradition of so many centuries, it is obvious to find some stylistic and antiquarian traits percolating in later period among the Digambara art (especially the metal icons) from the 14th century onwards. which are available in even smaller towns in South Karnataka and South of Maharashtra region. Among there the jain chovisi from chopada of the former Prince of Wales Museum, Mumbai though of Svetambara sect is a worthy landmark.
In the context of style, it is generally accepted that "If sculpture is the index of art of a particular region and period, then all art forms. whether plastic or graphic. Follow the same trend" which is easily discernible". This is particularly true of Ajanta sculpture and its wall paintings of the same period. The Eastern Indian Sculptures with illustrated manuscripts of the Palea period. So also, the Jain icons of 12th 13th century echoing with the early jain paintings of that period including the palm leaf MS. from Mudabidri" and the scupltures of that area.
'A Jaina Chovisi' of Rishabhanatha: (A Digambara Jain altarpiece with twenty four jainas). Bronze, Karnataka or South Maharashtra dated V.S. 1549=A.D. 1492, Ht. 42 cms (approx), Inscribed on the pedestal at the back and on both sides of the pitha Acc. No. B 69 B 11.
The large temple shaped altarpiece has a flat, semi-open parikara, with scalloped upper edge terminating in a Shikhara and a finial. The parikara has three Digambara images of jainas standing in kayotsarga pose having chhatras over their heads. The remaining seated janas are shown in miniature niches in two vertical columns on either side and also in the niches above. The recessed portion at the back of the mula-nayaka's head is occupied with
