________________
188
Sumati-Jñāna
Jina), Santi (16th Jina), Kunthu (17th Jina), Aranatha (18th Jina), Parsva (23rd Jina) and Mahāvīra (24th Jina). Among Yakṣīs, these exhibit the figures of Cakreśvarī (śāsanadevi of Ṛṣabha), Ambikā (śāsanadevī of Neminatha) and Padmavatī (śāsanadevī of Pārsvanatha). Generally, these all metal images belong to the Digambara sect but some bronzes from Barāso and Bhind seems to be belonged to Svetambara sect that will be discussed in detail at the place. These bronzes are not only important on account of their antiquity and Jaina iconographic study but most of them bear inscriptions which provide significant information to reconstruct the social, cultural, religious and political scenario of the region. These inscriptions are inscribed on either back or front and in some cases on both the sides. The language of these inscriptions is Sanskrit and script is Nāgarī.
Unfortunately, these bronzes remained unstudied until now, therefore, the author selected the present topic as an article which aims at to serve the primary information, in succinct manner, of these images and to draw the sincere attention of scholars towards their study. The author has documented these bronzes during his research survey for Ph. D in the year of 2004-05. The contents of present article do not concern with the earlier known metal images (i. e. prior to author).
The first place to be worth mention is the town of Joura in district Morena (25 kms from the district headquarter) where author has noticed more than 25 bronzes preserved in two different Jaina temples namely Śrī Digambara Jaina Pañchāitī Baḍā Mandir, built nearly 50 years ago and Śrī Pallivāla Digambara Jaina Mandir, built nearly 20 years ago. These bronzes illustrate Rṣabha, Pārśva, Supārśva, Candraprabha, Padmaprabha, Santi, Kunthu, Aranatha, Bahubali and Sarasvati both in individual and composite form (tritirthī, pañcatīrthī and caturvimśati). Most of them bear inscriptions on their back ranging in date from samvat 1520 (1463 AD) to samvat 1554 (1497 AD) but unfortunately, some remained in good state of preservation to be read out. Of these bronzes, most of the examples are of Tīrthankara Pārśvanatha who invariably shown seated in padmāsana posture with a seven-hooded snake canopy overhead. Two bronzes, in tritirthi form are of Tirthankara Santi-kunthu-Aranātha among which one is of special significance (Pl. 24.1). It bears an inscription of dated samvata 1521 (1464 AD), of 13 lines on its back which records the installation of the image by sadhu Amardeva, with his family and relatives, under the inspiration of Bhaṭṭāraka Śrī Simhakirti of Mūlasaṁgha Balātkāra gaṇa Sarasvatī gaccha in the reign of Tomar king Kirti Simha of Nalawara fort (Pl. 24.2). This purport is useful in all the ways but in particular, it states the Tomar king Kirti Simha to be the king of Nalawara fort i. e. Narwara Fort (district Shivpuri) of which none of the certain evidences were available to us earlier to this. There are three Supārsva's images all in padmasana posture and with nine-hooded snake canopy one of which possesses an inscription but not quite legible. A Parsva figure also has an inscription of dated samvat 1526 and one more image preserves a line "Re la ta na" (Relatana) that seems a name of a sculptor. One example is of Jina Padmaprabha shown in padmāsana posture and his name occurs in an inscription on it. A Candraprabha image in padmāsana posture also preserves an inscription but not legible. One example is of Bahubali, the one of
Jain Education International
For Private & Personal Use Only
www.jainelibrary.org
