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18. The bull- A fascinating figure of a decorated bull or a bullock following the medieval style of Jain Kalpa-Sutra at one time The bullock: the bullock was used for country wide inter-state transport though today its use has decreased. 19. Cymbals:
20. Playing Shahanai:
21. Playing
the drum:
22. The drum player:
23. A female dancer:
26. Arati (A sacred lamp):
27. The lamp:
This is an instrument made out of bronze and is one of the four types of musical instruments. The cymbals are made from bronze. They are used in music and on occasion of devotion, prayer and worship. It belongs to Indian culture and is used in temples during festivals. Mini-cymbals called Manjiras are used in the same way as cymbals, but they are used more by persons who sing devotional songs. The sound produced is soft, sweet and solid.
29. Rishabhadeva and
The illustration expresses a sweet sentiment. This auspicious musical instrument is used in assemblies of gods and kings and in religious and social functions in the families of the poor and the rich and also in processions. It is wellknown as a wind-instrument. The size and shape of Shahanai have many variations in different states, cities and villages with different shapes and names. It is also used abroad with different names an shapes.
This well-known musical instrument is used mainly at the place of worship and at different religious functions. It is known as Dundubhi in Sanskrit (Explanation of Symbol number 20 equally applies to this instrument).
24. A woman playing:
25. Trishala and This is an illustration of mother Trishala who has given birth to Bhagawan. According to Kalpa-Sutra style the legs Vardhamana: are shown short and eyes are shown elongated, shadows are omitted and more is suggested then what meets the eyes. The illustration is drawn on these principles while maintaining the harmony of colour and form. Artists call this Indian art.
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Here is a drum-player with bun of hair on the head. From the sculptures and pictures it appears that during the period from the tenth to the fifteenth centuries there was a custom of keeping long hair and binding them as a bun on the head, among certain kings and people. The drum player drawn with a peculiar costume and elongated eyes like that of a deer follows the Kalpa-Sutra Style of painting of the twelfth century.
This figure of a female dancer having nose as sharp as that of a parrot and elongated and protruding eyes like that of a deer is drawn after Kalpa-Sutra style patronised by Jains (A woman with beautiful eyes is called-MrigaNayani having eyes like those of a deer, in Sanskrit).
A woman playing a rectangular musical instrument of the percussion type, while bending the body from three places (Kalpa-Sutra style).
This is an artistic metallic lamp for deepak (arati) waving lights before the icon and for worship. This peacock shaped Arati has five lamps. It is also used for receiving or honouring some person and in religious and special functions.
In India and elsewhere there is a custom of waving this Arati with wicks, saturated with clarified butter (Ghee) before the icons of gods and goddesses regularly in the evening. This custom is both essential and inevitable. On great religious functions Arati with 108 lamps is waved before the icon mostly in Jain Temples.
After the completion of the Arati ceremony in the evening a special type of lamp is moved also. So the word 'Aratilamp has become current. This lamp is independently used in temples and during worship or recitation and it is waved before the picture of the gods and in worship at home. This lamp has a wick saturated with clarified butter. In Indian culture the religious rites associated with Arati-lamp are said to bring bliss and prosperity in life. 28. Goddess She is a very impressive goddess known as the choice deity of Shri Parshvanathaji, the 23rd Tirthankara Bhagawan. Padmavati: She belongs to the Bhavanpati Nikaya group and is introduced as the wife of Dharanendra.
From hundreds of Aratis only one is shown which is simple and used everywhere. This illustration follows a Rajasthani figure of the 18th century.
Usually there is a custom of showing seven hoods of the serpent over her head but this number varies. The author of Bhairava Padmavati Kalpa has suggested red Padmavati with three hoods of the serpent. Parshva Deva-Gani has described her as having three hoods of the serpent. Here she is shown with three hoods of the serpent over her. Her carrier is a serpent with the face of a cock. She is shown with a rope, a hook, a lotus and a fruit called 'Bijora'in her four arms respectively. The illustration follows Kalpa-Sutra style.
There are variations in the styles about the weapons and other objects in the hands of Padmavati. There are differences about her between the Shvetambar and the Digambar sects of Jainism. Jains, Hindus and Baudhhas accept in their own way goddess named Padmavati. Separate independent centres of Padmavatiji have also come into existence. Among them the new icon of Padmavati installed at the Jain Temple of Adinath at Ridge Road, Walkeshwar, Bombay is the best from the view-point of sculpture and form.
Yaksha and his Yakshini belong to the Vyantar Nikaya group. Then how is it that this a divine couple belongs to the Bhavanpati Nikaya group? If Padmavati is a Yakshini, the Dharanendra should be a Yaksha. Then why is he shown as a Parshva-Yaksha? Many such questions require satisfactory answers through research.
In this illustration prince Shreyansa is shown as offering sugarcane juice to his father Rishabha Dev Bhagawan, the first Tirthankara who flourished billions of years ago and who had fasted for more than a year for spiritual practice.
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