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Maruti Nandan Prasad Tiwari
Against this background the author proposes to discuss, in detail, the iconography of the set of Sixteen Mahavidyus as portrayed in the bhramika ceiling of the Santinatha temple (1077) at Kumbharia, District Banas Kantha (North Gujarai). The celling containing the figures of the Sixteen All the Mahavidyas is close to the Rangamandapa of the temple on east five Jaina temples at Kumbhäria (constructed between eleventh to the first half of the thirteenth century) are of the Svetambara affiliation. This, it may be noted, is the earliest known set of the Sixteen Jalna Mahavidyas'. Other subsequent sets of the Mahavidyas are known from the Vimala Vasahi (two sets: one in the Rangamandapa ceiling - 1148-50; and the other set in the corridor ceiling infront of the Cell No 41 latter half of the twelfth century), the Luna Vasahr (one set - 1232) and the Kharatara Vasabi (two sets sixteen century), all lying at Mt. Abu (Rajasthan) 10
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On the strength of the author's own study of the set of Mahavidyas under discussion, it may be stated that eleven of these correspond, fully or partially, to the injuctions of Catorvimśatika and more so to those of the Nirvanakalika (of Padalipta Sari - c. eleventh century). However, in representations of two other Mahavidyas, namely, Mahajvala and Acchuyta, the prescriptions of the Acaradınakara (of Vardhmana Suri 1411) have been followed. On other Vidyadevi, Kali, not conforming to any known dhyanas, has been identified on the testimony of khatvanga symbol. A firm, individual identification of the remaining two Mahavidyas - Manasi and Mahāmānası could not be possible inasmuch as they do not correspond even the least to any of the known dhyanas. In the present study the author, wherever necessary, has reinforced his identifications by representations of Mahavidyās with vehicles in the Santinatha temple and other known sets of their collective renderings.
The present group of the Sixteen Mahavidyas is shown all around the central figure of the Jina Suparśvanatha, seated as he is in the usual dhyana-mudra. Suparśvanath with a five-hooded cobra overhead is rendered on a simhasana with two flanking camardhara attendants and the usual cortége of assessory symbols. All the four-armed Mahavidyas are seated in the lalitasana on bhadrasana with right leg hanging and left tucked up. (The only other set representing Vidyadevis in seated posture is known from the Kharatara Vasabr.) The Mahavidyas wearing the karanda-mukuta are bejewelled in dhott, necklaces, stanaharas, armlets, bracelets and anklets. However, the respective vahanas of the Mahavidyas have not been carved in the set, which consequently makes the identification in some cases difficult or confusing. The other difficulty in regard to their identification, at least in two cases, is that they are not represented in the order as prescribed
