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MEDIEVAL JAINISM : CULTURE AND ENVIRONMENT
This atomic module of the structure, through the inherent vectors-Dharma, extends into the viewers space--lokakasa. Thus, as the vertical direction of vectors (force) generated by the shapes structuring the image of Tirthankara lifts inner space into Sahasrara or Centre of Bliss--Alokakasa, simultaneously the Lokakasa too transfigures into Alokakasa. This ‘Emancipation’–Kevala-is expressed - in retinally presenting the 'levitating Tirthankara”:
yayerHScala Teatrafol22 11 6 11 Ch. X, Sarvarthasiddhi
Cylindrically modulated limbs of the figure project forth dynamo of the centrifugal force in their full-blown forms. This manifests Prana or Vital-force bursting forth in breath. Apana or in-breath is visualized in the perception of metallic silence. As soon as this dynamism of Ksaya-Vriddhi-diminution-augmentation-of matter and energy-Pudgala—is brought forth, the diagonal structural axes of the configuration become the radiating stable points at their interaction with the vertical and horizontal framework of the image. Thus the 'levitating Tirthankara’ also becomes an image of 'perfect Tranquility'. Concentric circles inscribed at some of such stable points or nodes further vivify the Tranquil-luminosity by their crescendo and decrescendo projections.
Lastly, the body of Tirthankara conceived in hermatic forms represents Samvara_stoppage and shedding of Karmic-form. Such basic forms are a must to express the vigour of the structure of vectors, gamma motions or line of force and centrifugal energy-Dharma-and the structural balance attained with reference to the field of gravity-Adharma. As such, these forms become media of motion and of rest vivifying the transfiguration : the
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