Vijyanandsuri Swargarohan Shatabdi Granth

Author(s): Navinchandra Vijaymuni, Ramanlal C Shah, Shripal Jain
Publisher: Vijayanand Suri Sahitya Prakashan Foundation Pavagadh

Page 812

All of the above described ayagapattas represent only auspicious symbols. But there have been found some other ayagapattas on which a sitting figure of Tirthankara is also carved in the centre. These ayagapattas may be termed as Tirthankarapata.
On one such ayagapatta (SML, J. 250) these is a figure of Tirthankara in sitting posture under a chatra decorated with garlands in the central medallion encircled by four tridents or nandyavartas if seen along with the circle in the centre. There spring the four ornamental arms of a large svastika around the medallion of Tirthankara. All the four arms svastika are fish-tailed and decorated with garlands with a flowery: pendant. Each of them also contains within its bend a small symbol, namely svastika, srivatsa, mina-mithuna, and vaijayanti. In the outer circular band are depicted four auspicious symbols; bodhi-tree in railing on the right, stupa at the top, a defaced object on the left and a seated Jaina figure without parasol at the bottom. In between these four symbols there are eight couples of flying Vidyadharas. All the four corners are decorated with a figure of mahoroga in atalantic attitude. The lower side of the equare frame of the ayagapatta has a row of eight auspicious symbols out of which only five are identifiable. 19 These are a kalasa, a nandyavarta, a svastika, a mina-mithuna and a srivatsa. V.S. Agrawala calls it svastikapata. 20
The fragment of an ayagapatta represents an ornamental svastika in the centre (No. 35-36. 2563). The fish-tailed arms of the svastika on this inscribed ayagapatta spring from a lotus medallion and are decorated with borders of small square dots. The space is filled with lotus buds and flowers both in realistic and ornamental forms. The remaining arm of the svastika contains the inscription. The ayagapatta has a broad frame decorated with flowers and leafy designs. 21 According to N.P. Joshi, the ayagapatta may be ascribed to the first century A.D.“
On another ayagapatta (AMM, 47. 49; SML, J 249 according to V.S. Agrawala), the figure of the Tirthankara is within a square design of four nandyavartas. The flanking borders have a cakra-dhvaja at the right and a hasti-dhvaja at the left of the slab. The representation of the most auspicious and sacred asta- mangalika motifs is also found on the upper and lower borders of the ayagapatta. The four symbols, mina-mithuna, asana, srivatsa, vardhanama, are on the upper border and an inverted
Ayagapattas And The Beginnig Of Jaina Cult Worship
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