Studies in Jaina Art

Author(s): Umakant P Shah
Publisher: Parshwanath Vidyapith

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STUDIES IN JAINA ART
in the west, the Svetambaras were growing stronger. South of Brgukaccha (Broach ), the Digambaras had an establishment at Navasāri? while in the Khåndesh, M. P. and the Deccan, the Svetäm baras were gradually diminishing in number. In the east, in Bihar and Orissa, Digambara Jainism was still popular whereas in Bengal it was already on the decline. Mediaeval Period
A group of Jaina temples of Chandela art are standing at Khajurāho. A Khajurāho temple generally consists of a cella, a mandapa, ardha-mandapa ( entrance portico ), supplemented by vestibule to the cella and in more developed forms, has trancepts (mukha-mandapas ) together with professional path round the cella. The Jaina temples, about six in number and in varying states of preservation differ but little from the Brahmanical fanes at Khajuraho. The only difference lies in the almost complete elimination of voids in elevation or window openings which are pronounced features of other groups. The monotony of the external appearance of Jaina temples thus caused is relieved by elaborating parallel friezes of statuary. These rows of figures, running right round the structure, with projections at intervals, dominate the entire scheme. Images of special iconographic value, including the dikpālas, yakşas and multiarmed goddesses, are seen on these walls (fig. 52). One of these temples is illustrated in fig. 51. Fig. 40 illustrates Kubera frorn a pillar.
Architecture of Jaina temples at Deogarh fort, Jhānsi district, U. P., has not been properly discussed hitherto. Some of the temples date from the toth century and have a small open porch leading into the shrine surmounted by a spire, less elaborate than, Khajurāho. Set up in front of the spire are sometimes seen an ornamental arch and a few sculptures on the porch-roof. The temple walls, with niches on the sides, containing images, present a pleasing contrast with the ornate examples at Khajuraho. In later specimens, however, Deogarh temples show carvings on basement and walls and are erected on bigger plans, temple No. 12 being the biggest. Temple Nos. 1 and 12 have free standing pillars on one side, each pillar having four sculptures on the top and four more at the bottom. Fig. 47 represents a beautiful specimen of Kşetrapāla (guardian of the site) from a pillar near the first temple. Amongst other noteworthy sculptures at Deogarh are a group of yakși figures set up with labels on the backwall of temple No. 12, in characters of the c. Ioth century A. D. They represent a valuable iconographic tradition unknown to extant Jaina literature. Fig. 39 represents the Jina-Mother.8
Of special interest, among loose sculptures at Deogarh and Khajuraho, is 1 Ep. Ind. Vol. XXI, pp. 133 ff. 3 Sankalia, H. D. JISOA., IX. 97 tf. 3 It is a loose slab (temple 4) dating from earth century.