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STUDIES IN JAINA ART
As they symbolise the very essence of the Jaina Faith, the Nine Padas or “the Nine Worthies of Respect" acquired great sanctity and popularity amongst the Jainas of both the sects. The Digambaras, however, differed from the Svetāmbaras with regard to these last four Padas. According to them, the four Padas are: the Caitya or Jina image, the Caityalaya or Jinatemple, the Dharma-Cakra or the Sacred Wheel of Law, and Sruta or the speech of the Tirthankaras represented by Jaina Scriptures,
Figure 85 represents a bronze tablet of the Siddha-Cakra worshipped by the Svetāmbara sect. The diagram has the form of an eight-petalled lotus with the different worthies (padas) arranged as follows: The Arhat in the centre, the Siddha just above, the Ācārya to his right, the Upadhyāya below the Arhat, and the Sadhu to the left of the central figure. The Namaskāra-mantra or the obeissance formula to the Right Faith (Om Hrim namo damsanassa) is inserted on the petal between the Siddha and the Ācārya, that of Right knowledge (om Hrim namo nānassa) between the Acārya and the Upadhyāya, that of Right conduct (om Hrim namo Cārittassa) between the latter and the Sādhu, and that of Penance (Om Hrim namo tavassa) between the Sādhu and the Siddha. It will be seen that here invocations are offered to the abstract qualities but they are not worshipped as anthropomorphic deities. The Arhat and the Siddha sit in the padmasana showing the dhyāna mudrā; while the remaining three Parameşthins are in the same posture, they seem to carry some object in one hand with the other resting on the lap. As figures are indistinct in this bronze, it is not possible to identify the symbol held by them. But paintings of the Siddha-Cakra are common and in these, 1 each of these figures lets his left hand rest on the lap while the right one, held in the Vyākhyānamudrā, carries a muha-patli ( mukhapattikā) or mouth-piece. In the bronze illustrated here, the whole lotus is encircled by a beautiful design while a gargoyle is attached to the lower end so as to allow the ablution water to pass through it.
It may be noted that in paintings of this diagram, each of the five Parameşthins has a particular complexion, necessary for his dhyāna in the Tantric sādhana of the Siddha-Cakra.Yantra. Thus the Achat, the Siddha, the Acārya, the Upadhyāya and the Sadhu are of white, red, yellow, blue and black complexion respectively. The colour of the remaining four members of the
1 See, Journal of Indian Society of Oriental Art, Vol. IX. (1941), fig. I on pl. facing p. 44.
2 It is a piece of cloth held in front of the mouth in order to avoid insects flying into it, thereby safeguarding against violence or himsā.
Preserved in the Baroda Museum. Discussed by me in Baroda Museum Bulletin, Vol. 3, pl. I, pp. 25 ff.
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