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Jaina Bronzes in Northern Madhya Pradesh the sons of Rsabhanātha depicted in its traditional way as to have creepers and reptiles on his body in standing posture (Pl. 24.3). This image also preserves an inscription of dated samvat 1520 (1463 AD). One specimen is of four-handed Sarasvatī, the goddess of learning and scripture, depicted in tribhanga posture, holding manuscript and kamandalu in her left hands and padma and pāśa in her right hands, with a her mount peacock, a tiny Jina image above the head and an inscription of samvat 1552 (1495 AD) on its back (Pl. 24.4). There are seven caturvimšati images of Jina Rşabhanātha among them two bear inscriptions of dated samvat 1531 (1474 AD) and samvat 1554 (1497 AD). One more is inscribed but not legible. Some images are unidentified due to absence of concerning cognizances. One image deserves special mention that is of any Tīrthañkara seated on a high cushion above the pedestal in padmāsana posture (Pl. 24.5). The Jina is not properly identical due to the absence of cognizance but high jatā overhead reminds us of Rsabhanātha. The Jina is also flanked with a two-handed unidentified yaksha and yakshi on each side. The Tīrthañkara has a big but simple halo (bhāmandala) behind head. The image has no inscription. On iconographic grounds, it can be ascribed of c. 12th century AD.
The Bhind district was very rich for bronzes as more than 150 bronzes are reported from the different places in the district. Interesting is that among them more than 100 bronzes are housed in the different Jaina temples only in the city of Bhind. Here, the first site to be noteworthy is village of Barāso (nearly 25 kms from district headquarters) where in a Jaina temple seven bronzes, all are inscribed, are housed ranging in date from samvat 1190 (1133 AD) to samvat 1537 (1480 AD). Among them five belong to Jina Pārsvanātha of dated samvat 1190 (1133 AD, records the name of Asavar), samvat 1388 (1331 AD, records the installation of the image by Sātra, the son of sādhu Labhayā of mūlasamgha), sa 1435 (1378 AD, Pl. 24.6. a& 24.6.b), samvat 1537 (1480 AD, records the name of Bhattāraka Jinacamdra of mūlasamgha, Pl. 24.7.a & 24.7.b), and again of samvat 1537 (Pl. 24.8.a & 24.8.b) and one of Sumatinātha (Pl. 24.9) of dated samvata 1506 (records the installation of the image by sādhu Samsāracamdra, son of sadhu Simharām and his wife Lāvī of Jaisavāla vaša kākarīā gotra, under the inspiration of śrī Nayacamdra sūri, disciple of śrī Padmacamdra sūri of Kşamarsi gaccha), and one of Sitalanātha (Pl. 24.10) of dated samvata 1536 (1479 AD, records the installation of the image by the Lālī, wife of Kuta and Bhimișa, wife of Phāmada of Māhuriā gotra under the inspiration of śrī Devasundara sūri of Pishal gaccha). All the images are shown seated in padmāsana posture among which the Pārsvanātha's images are identified with a seven-hooded canopy above the head whereas the identification of two other images as Sumatinātha and Sitalanātha depend on occurring their names in inscriptions on them. The images of Sumati and Sitalanātha also depict the concerning yaksa and yakși figures. The Barāso that with metal images also yielded a large number of stone Jaina images ranging in date from 11th to 15th century AD is generally belonged to Digambara sect but two images of metal i. e. of Sumatinātha and Sitalnātha, as discussed earlier, preserve the names of Svetāmbara monks and their gacchas respectively Śrī Nayacaṁdra sūri, disciple of Śrī Padmacamdra sūri of Ksamarsi Gaccha and Sri Devasundar sūri of
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