Mahavira and his Teaching

Author(s): C C Shah, Rishabhdas Ranka, Dalsukh Malvania
Publisher: Bhagwan Mahavir 2500th Nirvan Mahotsava Samiti

Page 453

JINA IMAGES IN THE ARCHAEOLOGICAL MUSEUM, KHAJURĀHO 425
all the subsequent ages. During the Kuşāņa age only two of the four Jinas are definitely identified by reason of the falling hair locks and seven headed cobra overhead as Rsabhanātha and Pārsvanātha respectively. A further development in the depiction of the Sarvatobhadra pratimā during the early mediaeval period may be seen in their fashioning in the form of a miniature temple with the top made after a sikhara. Such representations showing three or even more successive tiers and generally depicting several small Jina figures other than the four main Jinas without any uniformity in regard to their number, are reported from other Jaina art centres in Madhya Pradesh and every where else.
The present Caumukha is a solitary example at Khajuraho. Much effaced, it is uniform in composition on all four sides and represents on each direction, in the centre, a seated Jina accompanied by twelve miniature Jina figures. It should be noted here that Jinas of the two directions only can be identified with the help of a seven hooded serpent canopy in the case of Pārsvanātha and falling hair locks in the case of Rsabhanātha. Lower portions of the pedestals of the rest two sides have peeled off, rendering the identification of the Jinas impossible.
In the middle on each of the four sides sits a Jina on a cushion placed on a pedestal borne by two lions, instead of pilasters. The covering cloth of the pedestals shows on all the sides either geometrical patterns or as usual the festoons suspended from the mouth of kirtīmukha. Halo round the head of all the Jinas is plain and the hair in each case is done in curls with a small knot, At each extremity of the pedestal occurs a seated Jina surmounted by a pair of standing Jinas with a seated Jina further above. Above the trichatra of the middle Jina, in the centre, appears a Jina seated in a pillared niche with an arched pediment atop. The Jina is topped by another seated Jina figure. Also at either end of the upper parikara a pillared niche, designed like a miniature shrine, shelters a standing Jina figure. The upper part of the image, on all sides is designed like a śikhara with three successive tiers. M.M.-54