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Anantanatha but it could be safely asserted that these Harappan remains have significant similarity with Jaina religious imagery.
Composite depictions, including human figures with part of animals or as combination of animal was also in vogue from the Harappan times. Thus from several Harappan sites including Rakhigarhi and Kalibangan seals show this type of combination. The one from Kalibangan (Lal, 1997, pl. LVId) showing a human figure and hind of a tiger (Fig. 7a) is interesting as similar depictions are again noted in Jain context. The hybridization of animal and human body with hind part of an animal (Smith, 1900; reprint 1994, pl. VIII) was also observed near Mathura at the Jain site (Fig-7b) known as Kankali Tila dated to about 1st century BC. Composite depictions are also noticed in the Jain rock cut caves of the twin site known as Udayagiri and Khandgiri (Mitra 1992: pp 29, 48) in Orissa dated to about 2nd-1st century BC. The cosmopolitan Harappans were having trade relations with West Asia, due to which many legends trickled into the Indus Valley. Perhaps, the most important was that of Gilgamesh slaying lion, also represented in Harappan seals, with several variations. However, after the Harappans it resurfaces only about two millennia later. It has been noticed in the Jain Stupa at Kankali Tila in Mathura. Fish, which is conspicuously depicted on Harappan seals at Harappan sites, was a harbinger of prosperity in the humid Harappan environment. The importance of fish as a symbol of bounties of nature transcended down from the Harappan times. Thus, the Jains have a pair of fish as one of the auspicious symbols as also seen in Jain Ayagapatta and inside srivatsa all emphasis the continuity during later times.
Rhinoceros another animal that is symbolic of humid environment is shown amply on Harappan seals and as terracotta is continued in the Jaina religion. It is the cognizance of Tirthankara Sreyansanatha. The animal is also freely portrayed on a balustrade member of the earlier Kankali Tilla Jain Stupa (Smith, 1900, p. 40 pl. LXXX) and on Jaina Manuscripts (Khandalavala & Doshi, 1975, p. 399) as late as 12th century AD. Curiously, the trefoil pattern on the cloth of the bearded priest (Fig. 8a) from Mohenjodaro has been replicated on a stone crocodile (Fig. 8b) with fish tail from Jain Stupa (Kankali Tila, Mathura, Smith, 1900, pl. XLII). Even though only a single trefoil pattern is seen the exact resemblance shows that the continuity was there. The art motif 'intersecting circles' seen so commonly in Harappan context is also seen in a similar manner in the Jain Stupa at Kankali Tilla (Smith, 1900, pl. VII). Again, it should be mentioned that one or two examples does not suffice to form a confirmation of continuity. However, 'pair of fish', 'rhinoceros', 'composite animal and human figures' etc. has continued from the Harappan times to the modern times in the religious imagery of Jainism. But how did the motifs like 'intersecting circles' and 'trefoil pattern' appear in the depictions on stone at the Jain Stupa at Mathura which is dated to about1st century BC. Should it be brushed aside as mere coincidence? Does not the anomalous concentration of evidence of continuity from the Harappan times that are seen at the Jain Stupa (Kankali Tilla, Mathura) hint that the continuation of traditions was there, where wood perhaps played a significant part as a medium of expression of religious art
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