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A Newly Discovered Jaina Sarvatobhadrika Image of Gupta Period from Tumain.. 195 dated Gupta era 116 (436 AD) of Gupta king Kumaragupta I recovered from Tumain records the name of the present Tumain as Tumbavana?. Tumain seems to be derived from Tumbavana.
Recently, authors have extensively surveyed the site for their research work in 2005 and seen a vast range of art and architectural vestiges belonging to above-mentioned sects, scattered all around the site. Meanwhile, authors came to know by a villager that a naked image that he exposed during digging, is laying backside of his house. Villager's house was situated at the outskirt of the village. This information made author very curious to see that image. After examination it, author was surprised that it was an unique and exquisite example of Sarvatobhadrikā type of Jina image of 5th century AD (i. e. Gupta period). In the Jaina sculptural art, the tradition of Sarvatobhadrikā (caumukhī or caturmukha) images was initiated in the Kuşāņa period and continued in Gupta period and onwards. The present sarvatobhadrikā image holds a significant place in itself. This is the until reported earliest sarvatobhadrikā type of images from the entire Madhya Pradesh even of Gupta period, it is just second information."
In the present image (3'5" in height), four sculptures of Tīrthañkaras shown standing in kāyotsarga posture on a lotus cushion, are represented in four directions of a stone piece (Pl. 25.1, 25.2, 25.3 & 25.4). Tīrthankaras do not have any cognizant-marks (lāñchanas) so their proper identification is not possible. Alike the earlier sarvatobhadrikā images of Kuşāna and Gupta period from Mathura in which Tīrthañkara Rsabhanātha and Pārsvanātha can be respectively distinguished by his hair curls hanging on their shoulders and seven serpent hoods crowning his head, the present image lack such type of characteristics.
The image is mutilated by hands and partly defaced. The stele (parikara) is quite simple, devoid of any ornamentation. This image bears the typical Gupta idioms as the oval faces, thick, lips, sharp chin, constant flow of lines, stiffness of shoulders, flashy body etc. The bodily grace of this image is superb. There is perfect anatomy from the chin to the toe. The oval faces with half closed eyes of meditating state have a peculiar spiritual smile that shows the frequent attaining of omniscient state of a Jina. This sublimity of expressions gleams a perfect countenance of the Yoga-mudrā or the state of deep austerity. The hair arrangement is conventional with thin locks on head with a prominent usnīsa. The Tīrthañkaras lack the symbol of śrīvatsa on their chest while nipple-ends and naval-points are clearly carved. The fleshy body and the stiffness of shoulders remind us the impact of Kuşāna art of Ma this image through with local colour. The style of earlobes and the arrangement of hair with a prominent uşņīsa show the influence of Buddha images on this image.
A fragment of an unidentified Jina image is also lying near this image without head and lower portion that can be assignable to c. 6th century AD.
An interesting thing is also noticed a few meters away from the findspot of the image. It is a platform like throne cut in rock mass (Pl. 25.5). Such type of thrones are most frequently
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