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Sumati-Jñāna noticed. Besides the Jaina ayagapatas showing the representations of Jinas in the midst of symbols, we come across the independent figures of the Jinas (Rsabha, Sambhava, Munisuvrata, Nemi, Parsva and Mahavira), and also the Jina caumukhi or Pratimasarvatobhadrika, representing four Jinas on four sides. The figures of Sarasvati, Naigamesi and few other deities are also found at Mathura. The srivatsa (an auspicious mark) in the centre of the chest of the Jinas and also the two exclusive meditative postures namely, the dhyana-mudra (seated cross-legged with both the hands being on the lap) and the kayotsarga-mudra (the attitude of dismissing the body wherein the Jinas stand erect with both the hands hanging down) were also introduced during the Kushan period. It may be noted that the Jinas or the Tirthankaras symbolizing the highest point of austerity and renunciation occupy the most exalted position in Jaina worship. They were always represented in the above two meditative postures which was something singular in respect of the Jaina art. It is to be underlined that Jinas were never thought of as the deity granting the material objects (boons) to or fulfilling the worldly aspirations of the worshippers. They always remained as spiritual preceptors or saviours and therefore like Buddha, Visnu, Siva, Ganesa, Sakti and other deities, the Jina were never shown in the abhaya or varada-mudra (the safety bestowing or the boon conferring gestures). However, to cater to the need of the worshippers or the society, a Yaksa and a Yaksi (Sasanadevatas) were associated with each of the 24 Jinas who as attendant deities always remained near the Jinas and fulfilled the material aspirations of the adorers (Harivamsa Purana 66. 43-44). Thus, the Jina images represent the spiritual height while the Yaksa-Yaksi figures represent the second stream of worldly possessions and aspirations. The wonderful blend of two different streams in the Jina images is a remarkable feature of Jaina art.
During the Gupta period (c. 4th-6th century AD), the distinguishing cognizances of the Jinas like Neminatha and Mahavira were introduced while the rendering of the figures of the Yaksi and Yaksa are also found in case of Rsabhanatha and Neminatha images. The earliest examples of such figures are found from Rajgir (Bihar), Varanasi (Uttar Pradesh) and Akota (Gujarat). By the 8th_9th century AD, the cognizances of all the 24 Jinas were finalized and were consequently shown in the sculptures. The list of the 24 Yaksas and Yaksis are found in the works assignable between 8th 9th century AD (Pravacanasaroddhara 375-78 and Tiloyapannatti-4. 934-39) while their detailed iconographic features are envisaged in the Svetambara and Digambara Jaina texts of 11th-13th century AD. The most important of such texts are the Nirvanakalika (of Padaliptasuri-11th century AD), Trisastisalakapurusacaritra (of Vasunandi-12th century AD) and the Pratisthasaroddhara (of Asadhara-13th century AD), the last two being Digambara works. The figures of Sarasvati, Laksmi, Ganesa, ksetrapala, Bahubali, Bharata Cakravarti and several other deities are encountered from about 9th century AD at different Jaina sites. The Western India has yielded mainly the Svetambara Jaina images while the Jaina vestiges from all other parts of country belong to the Digambara sect. The most prolific of all the Jaina sites were Mathura, Deogarh, Khandagiri, Ellora, Sravanabelgola, Delvada (Mt. Abu), Kumbharia, Taranga and Ranakapur,
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