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Jaina Bronzes in Northern Madhya Pradesh AD, of one line on its back mentioning the installation of the image by sādhu Pāpā with his wife Ratnā on the occasion of the birth of their daughter (Pl. 24.12). The male and female figures are none other than sādhu Pāpā and his wife Ratnā and a child in the lap of female figure i. e. Ratna is their daughter. This whole composition is very meaningful. The tree indicates towards the power of fertility in the world. The Ambikā, Padmāvatī, Sarasvati and Cakreśvarī indicate respectively towards to empower the virgin with the capacity of fertility, the capability of save the lives, the efficiency of knowledge and the power to rectify the evils of society. This image is very beautifully and exquisitely carved.
In the city of Bhind, there are more than 50 Jaina temples in which more than 120 bronzes are housed belonging to Tīrthankara Rsabha, Candraprabha, Supārsva, tritirthī of SāntiKunthu-Aranātha, Pārsva, Mahāvīra and Bāhubali ranging in date from samvat 1359 (1302 AD) to samvat 1529 (1472 AD). Most of the specimens are of Pārsvanātha and then of Rşabhanātha. All the Rşabha's images are shown in the form of caturvimšati excluding an example which shows him standing in kāyotasarga-mudrā on an inscribed high pedestal and with lateral strands (Pl. 24.13). This is the tallest bronze image from the entire region. Some tritīrthī images of Sānti-Kunthu-Aranātha are shown in caturviņśati form of them one is highly exquisite (Pl. 24.14). Five Rşabha's images have inscription of samvat 1359 (1302 AD), samvat 1472 (1415 AD, records the installation of the image by sādhu Dhirdeva of Lodā gotra under the inspiration of Sri Harsasundar sūri of Pallītā Gaccha), samvat 1520 (1463 AD), samvat 1520 and one is quite illegible (Pl. 24.15). Two Pārsvanatha images bear inscriptions of samvat 1525 (1468 AD, records the installation of the image by Adu of Jaisvāla vamsa under the inspiration of Bhattāraka Śrī Siṁhakīrti of mūlasamgha) and samvat 1528 (1471 AD, records the installation of the image by Vasu of Golalāre anvaya). A Supārsvanātha image with five-hooded snake canopy overhead, two-handed yakşa Mātañga on pedestal and in pañcatīrthī form, bears an inscription of samvat 1497 (1440 AD) which records the installation of it by sādhu Suhaga. A Candraprabha and a Mahāvīra image (Pl. 24.16) respectively preserve the inscription of samvat 1529 and samvat 1480 (1423 AD, records the installation of the image by the wife and son of Gāndhi Nīsala with all relatives under the inspiration of bhattāraka Sakalakīrti of nandisamgha Balātkāra gana). The Mahāvīra image is in caturviņśati form. An elegant specimen of Nandiśvara Dvīpa (Pl. 24.17) is also housed depicting a standing Jina surrounded with 12 miniature Jina images on each four sides and bear an inscription of samvat 1501 (1444 AD). A Pārsvanatha image (15th century AD) is inscribed with a number 1236 (Pl. 24.18), as earlier seen on a bronze from Ater (district Bhind), that too indicates toward its number of manufacturing from the factory. Some other images also preserve inscriptions but not very legible. The caturviņsati images of Bhind are highly orpamented and elaborated.
A Jaina temple in the village of Pavai in district Bhind (35 kms from the district headquarter) also housed 15 bronzes depicting mainly Pārsva with seven serpent-hoods and tritīrthi of śānti-Kunthu-Aranātha of 14th-15th century AD. There are four examples of tritīrthi in which one is noteworthy to be in the form of caturvimšati or caubīsi. One caraṇa-pădukā
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