Sambodhi 1973 Vol 02

Author(s): Dalsukh Malvania, H C Bhayani
Publisher: L D Indology Ahmedabad

Page 46

40
N. M. Kansara
in the palace of Tilakamañjari, excellent golden saddle," Hema-viştara, Vistara, Sukhasana,10 Äsandi," and a Rajata-darpana12
III: Iconography:
As has been noticed by Shri B.C, Bhattacharya,18 it is a time honoured custom in India to instal images for the purpose of private and public worship Neither the Budhists nor the Jainas disregarded it and, in fact by assimilation, completely developed a system of their own with. a multitude of images with canonical and mythical details. With the Jainas the images no doubt originated from the Tirthankaras. The governing idea of the image seems to be that it reminds a believer of the condition through which a Tirthankara passed to attain salvation and that affords him a strong incentive to follow the noble example of the Tirthankara in life. Dr. Bhattacharya further remarks14 that ideas of auspiciousness, prosperity, wealth, kingly splendour and so on, found a direct outlet in the sculptural art in the images of subordinate gods and goddesses like Genesha, Srs, Kubera, Indra, etc. The long-standing tradition and well-established images of these gods in Brahmanic Hinduism directly appealed to the Jainas. It seems they were necessary for the mass appeal in view of a similar mass appeal of Brahmanico-puranic imageworship.
The iconographic aspect of sculpture has received much attention at the hands of Dhanapala, especially in the case of the Jaina images of the first Tirthankara Rṣabba and the last one, viz., Mahavira.
The image of Lord Rṣabha installed in the adytum of the Jaina temple on mount Ekasinga was a huge icon carved out of the philosopher's-stone. It was set on a lion-throne bearing the frescoed motifs of a group of constellations, a dear and a lion.18 The posture of the Image was a sitting one called Padmasana with the palms placed upright in the lap. The curls of hair reaching both the shoulders had foliage decorations,' The ends of the eyes seemed to touch the root of the ears (of course from the front view) and the eyebrows were slightly fallen; the expression in them suggested a state total absence of purturbation19. The face On either side was a figure of Indra carrying white camara on his shoulder. A circular halo around the face, three white parasols, figures of various flying gods, some of them playing divine trumpets, some showering flowers, some folding their hands and with nymphs riding different aeroplanes, are other accompanying features. 22 These features in their totality constitute what is technically known as 'PARIKARA' in Jalna iconography.
of perfect mental poise and resembled the lunar disk, 20