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Vol. III, 1997-2002
Jaina Mahāvidyās in Osian
77
a shield, is represented by two examples. The four-armed goddess, represented as she is by five instances, always rides a lion, excepting a solitary instance, carved on the eastern vedibandha of the devakulikā No. 1, where she sits on a bhadrâsana. In conformity with the Svetāmbara texts, the goddess shows the abhaya-mudra (or a sword), a sword (or a lotus), a shield and a fruit (or a water-vassel). Mahāmānasi in the collective representation at Vimala vasahi also shows the identical features, excepting for a fruit replaced by a rosary. The six-armed figures, represented by three instances, show her as riding a lion and carrying the varada (or abhaya)-mudrā, a sword, an arrow, a shield, a bow and a fruit (or a water-vessel). The rendering of the goddess with six arms, not known from any texts, further suggests the exalted position enjoyed by the goddess. (The form of Mahāmānasi at Osiāñ has influenced the rendering of the yakși of Jina Candraprabha, called Sumālinā, at the temple No. 12 at Deogarh (Plate 11)69. The four-armed yaksi, joined by a lion as vāhana, holds a sword, the abhaya-mudrā, a shield in her three hands, while the lower left is resting on thigh.) The Jaina Mahāvidyās may also be compared with the deities of the Brahminical and Buddhist pantheons so far as their names and iconography are concerned. Mahākālī, Kālī, and Gaurī claim affinity with the Brahminical goddesses in respect of their names, sometimes attributes also, whereas Prajñapti, Vajrānkuśā and Apraticakrā with Brahminical Mātrkās like Kaumārī, Aindrī, and Vaisnavi in respect of iconography The Mahāvidyā Gauri, in point of fact, is identical with the Brahminical Gauri in respect of iconography, who likewise holds lotus and rosary and rides an iguana?. Besides, Naradattā (or Puruşadattā) has close resemblance with Brahminical Durgā, who bears a sword and a shield and rides a buffalo72. Mahāvidyā Vajraśrnkhalā, on, the other hand, offers comparison with the Buddhist Vajraírñkhalā who is conceived as an emanation of Amoghasiddhi73. However, the Sadhanamālā visualises Vajraśịnkhalā with three faces and eight arms and holding, besides vajra and vajraírkhalā, the abhaya, an arrow, the kapāla, tarjani-mudrā, a noose and a bow. The forms of Sarvāstramahājvālā, Mānavī, and Vairotyā?4 perhaps bear some influence of Agni, and tree and snake worship respectively. From this discussion, it follows that the Mahāvidyā figures on the main temple of Mahāvīra at Osian reveal a stage of early standardisation of the iconographic form of the principal Mahāvidyās, whereas the figures on the devakulikās show the continuity of earlier tradition with some advancement in iconography. However, the figures on the main temple and the devakulikās mainly concur with the prescriptions of the Caturvimsatikā and the Nirvāņakalikā.
Annotations : 1. For details consult, D. R. Bhandarkar, 'The Temples of Osiä,' Annual Report, Archaeological
Survey of India, 1908-09, Calcutta 1912, p. 108; also, Percy Brown, Indian Architecture
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