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The Iconography of the Sixteen Jaina Mahavidyas
21
(5) However, U.P. Shah in his paper on the Jaing Mahavidyās has not quoted any
example of the Mahavidya figure from the Mahāvira temple at Osia, (6) Consult, Dhaky, M A., 'Some Early Jaina Temples in Western India'. Shri Malāvīra
Jalna Vidyalaya Golden Jubilee Volume, PL, I, Bombay 1968, pp. 325-26. (7) Sonpura, Kantilal 1'., The Sluctural Temples of Gujarat, Ahmedabad 1963, pp. 129.
According to Somputa, "The earliest four inscriptions on the pedestals of images are dated V.S. 1133 (= 1077 A.D.). However, the present author during his visit to the Kumbharja temples has noticed even an earlier inscription of the Samvat 1110 (=1053)
in the Cell No. 9 of the Santinātha temple. (12) The Vimala Vasali's two sets of the Mahāvidyās collective representation were held
to be the earliest examples of the collective rendering of these goddesses till the author
found a still remote instance of the kind of Kumbharia, (B) for the iconographic data at Kumbharia consult, Tiwari, Maruti Nandan Prasad, 'A
Brief Survey of the Iconographic Datant Kumbhária, North Gujarat', Sambodhi, (Publ.
from the LD, Institute, Ahmedabad) Vol. 2, No 1, Apni 1973, pp. 7-14. (9) However, UP, Shah in his paper on the Jama Mahavidyās does not refer to this
cailtest known set, which is for the first time published liete. It is to be noted that It is not only the solitary instance of the collective representation of the Sixteen Mahavidyās at the site lul also perhaps in Gujarat. The author regrets that he is unable to illustrate the ceiling fully and the accoinpaying photograph, however, shows only ten of the Vidyādevīs, namely, Gauri, Gandhāri, Vairogya, Kali, Rohini, Vajrān.
kuga, Mahājvāla, Minasi (?), Mahāmānasi (TM), and Vajraírtiklala. (10) Shal, U.P., Jaina Mahavidyās ... Pp. 120-21. (11) The rendering of the Sixteen Mahāvidyās cncircling the central figure of Jina Supar
avanātha (the 7th Jina) may suggest some affiliatiou of the Tantic group of Maha. Vidyas with the Jina, which perhaps is not known in the literature. However, this is
the only known set which iepresents the Sixteen Mahavidyās around a Jina figure, (12) It includes trichatra topped by a disembodied figure and a pair of elephants, mala
dhara, and divine musicians at top sides. (13) For example Rohini, instead of Prajñaptı, 13 followed by Vajrānkuśã and Cakreśvarī,
instead of Vajiankuša, is preceded by Vaji aśrnkhala. (14) Shalı, U.P, Jaina Mahāvidyās ... Pp. 132–133, (15) At Osia on the Mabāvira temple and 90 also on the Devakulikās (eleventh century),
she is carved with discs in all her four hands. A few other identical instances have also ben noticed by the author at the Párávanātha temple at Sadri and the Mahāvira temple at Ghaner av, both located in the Pal District (Rajasthan) and constructed in c. tenth-eleventh century. However, in the scries of the 24-Yakses at Deogarh
(Temple No. 12 - 863) also Cakreśvari shows discs in all her four hands. (16) घण्टेन्द्रशस्त्र सफलक्षमालं
नृस्था वहन्तो विमला क्षमाऽलम् ।
Caturvimsutika. 63 17. (with Gurjara translation. Bombay 1926, p. 119). (17) See No vānakalilcā Ed. by Mohanlal Bhagavāndās, Muni Sri Mohanlal Ji Jaina
Granthamala : 5, Bombay (1926, p. 37). (18) पुरुषदत्तां कनकावदातां महिषीचाहनां चतुर्भुजां
वरशसियुक्तदक्षिणकरां मातुलिंगखेटकयुतवामहस्तां चेति ।।
