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Jaina Śāsanadevatās : Source and Iconography
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were borrowed from early concept of Maņibhadra Yakșa and Bahuputrikā Yakṣī.
The early Jaina works of 6th to gih Century A.D. discuss the iconographic features of Jaina Šāsanadevatās such as Yakşarāja, (Sarvänubhūti) Dharanendra, Ambikā, Padmāvati and Cakreśvarī who had been prevelant in some form or other in early tradition of almost all the sects. However, the list of Yakşa-Yakși pairs for all the Jinas were finalized in both the Svetāmbara and Digambara traditions during gih_gih Cent. A.D. while their detailed individual iconographic features was enunciated in the texts around 10h-12th Cent. A.D.
In art, Śāsanadevatā were introduced around 6th Cent. A.D. The earliest pair of Sarvānubhūti and Ambikā continued to be shown with almost all the Jinas at least up to 9th Cent. A.D.
After 9th Cent. gradual process of showing different YakşaYakṣī pairs with the Jina was in vogue. Most of the Yakşa-Yakṣī pairs were usually shown with abhaya (or varad) mudrā and a fruit (or kalasa), which distinctly indicate the divine, and the bestowing nature of Śāsanadevatās.
The Jinas representing spiritual phenomenon sustained their unceasing respect for austerity and renunciation while Sāsanadevatā as the bestower of material abundance kept on changing their forms particularly in art to suit the socio-religious obligations.
Around 11th Cent. fixed forms of the Yaksa and Yakṣī were visualized. The number of their hands increased and the attributes, which were added, are in form of weapon of wars like mace, shield, sword, spear, etc. This iconography development was obviously not a sudden change but reflects the changing attitude of the society and, also their requirement. Interestingly, during the 11th Century A.D. our country was facing foreign intruders who were particularly aiming at ravaging our religious edifices. To combat the foreign threat probably it become necessary to change the form of the deities
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