Studies in Jaina Art

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

Page 92

SYMBOL WORSHIP IN JAINISM
Vardhamana. The Ayavati or (Aryavati or Aryavati) set up by Amohini, naturally refers to the Royal lady represented standing in bold relief in the centre (of the tablet), dressed elegantly and standing with the right hand held as if in the abhaya pose and with left one akimbo. A male attendant to her right holds an umbrella over her head. A female attendant with a garland stands on the right near the much defaced pillar. Between the Aryavati and the umbrella bearer is a small figure of a boy (or a girl) with folded hands. On the left of the lady is a female waving the flywhisk. Obviously, the figure represents a royal lady, (not a nun) and one who deserved adoration and worship. It is therefore reasonable to suppose that she is the mother of a Jina, probably of Vardhamana, invoked in ths beginning of the inscription. The garlands hanging, in the background remind one of such hanging from the Kalpa trees in the Bharhut railings.
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Tablet IV. Set up by Sivayasas. (Fig. 7)
This is an interesting tablet, which, though mutilated gives a partial view of the Jaina Stupa with the torana gateway and railing round the circumambulatory passnge, reached by a flight of steps. The characters of the inscription below the railing are, according to Smith, "little more archaic than those of Dhanabhüti's inscriptions on the gateway of the Bharhut stūpa, dated in the reign of the Sungas, or about 150 B. C." They seem to de somewhat later, and Buhler, admitting that they are archaic' adds that they "belong to the period before Kapişka." The tablet may be roughly assigned to the early first century B. C.
Tablet V. Set up by Sihanadika. (Fig. 13)
A Jina sits in padmasana, dhyana mudra, with a chhatra above head, in the central circle of the four composite tilaka-ratnas (same as tri-ratnas of Buddhist terminology). The upper-most panel of the tablet shows, in the central section, a pair of fish, a heavenly car, a Srivatsa mark and a powderbox. In the corresponding part of the panel at the lower end are shown, a tilakaratna, a full blown lotus, a symbol which Dr. Agrawal recognises as Indrayaști or Vaijayanti and a mangala-kalasa (auspicious vase). These eight symbols are the oldest known representations of the aṣṭamangalas of Jaina traditions. 2
which shows that this ayavati (äyägapața) was installed and that it was a Tablet of (representing) Aryavati.
The Stupa is discussed separately under the section of Stupa-worship. Also see, Smith, Jaina Stapa, pl. XII, pp. 3 and 19; Buhler, Ep. Ind. IV. p. 196. Agrawala, Guide to Lucknow Museum, p. 2, fig. 5. and his g p. 120. Smith, Jaina Stupa, pl. VII, p. 14.