Ṛṣabhanātha sculptures with miniature Tīrthaṅkaras and Planetary deities

[Full title: Images of Tīrthaṅkara Ṛṣabhanātha (5a): Ṛṣabhanātha sculptures with miniature Tīrthaṅkaras and Planetary deities]

I have documented nine images of Ṛṣabhanātha from the present study region; among these images eight images of Rṣabhanātha represent ̣ miniature Tīrthaṅkaras along with Planetary deities in the back-slab and pedestal of the images and one image of Rṣabhanātha ̣ represents miniature Tīrthaṅkaras along with Dikpālas.

The first variety of this Ṛṣabhanātha images have been mainly reported from Purulia district. The excellently executed Ṛṣabhanātha image of chlorite stone installed in the Sonadaha temple measures 52 x 27 x 8 cm. It is certainly the work of an innovative craftsman and the entire carving of the parikara elements have been done on the surface of the back-slab by taking recourse to unusual projected or shallow sections (especially noticeable in the lower section depicting the caurībearers and the grahas). The coiffure (jaṭājuṭa) of the icon has been frequently encountered in our database and what is striking and unique is the depiction of the prabhāmandala. It is of elongated (almost cylindrical) shape in tune with the pronounced vertical alignment of the entire composition. The broad moulding of the śiraścakra interrupted by two floral motifs equally placed on both sides of the jaṭājuṭa, besides, the floral border of the śiraścakra are noteworthy. Also two miniature floral scrolls issue from behind the kinnara and kinnarīs depicted just beside the lower part of the śiraścakra. Two flowering stems/branches issue from both sides of the upper part of the śiraścakra. Like the other images of this region, there are depictions of two flower motifs/rosettes on both sides of the śiraścakra just above the issuing stems. Just below the curved top edge of the back-slab are the depictions of the tri-lineat chatra surmounted by an āmalaka and the kevala-vṛksa emanating from the sides of the parasol. The divine hands playing on the drums and the cymbals are also neatly depicted. The garland bearers are present just below the divine hands playing musical instruments. There are two horizontal mouldings of the back throne of the deity and the kinnara and kinnarīs stand on the upper one. The lower moulding is supported by an ornamental bracket and just beside the vertical entity of the throne on both sides are slender elongated vyālas flanking the Jina and facing opposite directions. The vyālas stand on blossomed lotuses the stalks of which issue from near the feet of the Jina. The vertical alignment of the vyālas corresponds to the almost straight suspension of the arms of the Jina although the fingers touch the thighs (as prescribed by the Jain icons). The Tīrthaṅkara is attended by the usual two fly-whisk bearers. Both stand in a three-quarter profiled view, turned towards the Jina with crossed legs (as evident on images from Pakbirra, etc.). The fly-whisks are hanging downwards. Both sides of the back-slab have depictions of miniature figures of the twenty-four Tīrthaṅkaras arranged in four horizontal rows of three each on either side. Just below the miniature Tīrthaṅkaras and on both sides of the back-slab are the depictions of the eight grahas on a slight projection. These on the dexter side appear to be Sūrya, Maṅgal, Bṛhaspati and Śani; while those on the sinistert side are Soma, Budha, Śukra and Rāhu. All grahas are seated on viśvapadmas and show individual iconographic features. The pañca-ratha pedestal has the bull on the central ratha from the back of which issue the stalk of the lotus seat of the Jina. A concise lotus scroll hovers above the bull. On the lowermost moulding of the pedestal and just below the bull is the depiction of a cakra. The rathas adjoining the central one have depictions of four devotees (their dimensions in descending order) on the left side. Probably they are a family of donor’s. The other ratha on the right adjoining the central one depicts two kneeling devotees in namaskāra-mudrā. The extreme projections on both sides have crouching lions facing opposite directions. On stylistic grounds the image can be assigned to a period ranging from the tenth to the twelfth centuries CE.

The chlorite-schist image of Ṛṣabhanātha from Sitalpur is iconographically very important and measures 137 x 64 cm (Pl.XXII.E). The image is well preserved and it represents a high quality of craftsmanship. The Jina is in kāyotsarga posture and stands on a full blown lotus placed on a pañca-ratha pedestal. The mūla-nāyaka, devoid of any worldly attire, has elongated ear-lobes and wears an elegant jaṭājuṭa with keśa-vallarī falling down the sides of the head and over the shoulders. The elaborate ovoidal śiraścakra is embellished with beads and flame-tongued border devices. A beautiful lotus is depicted on either side of the śiraścakra. The top of the back slab is crowned with a tri-liner chatra, each smaller than one below. The chatra is crowned by a tier which has delineation of leaf pattern indicating the heavenly nyagrodha or banyan tree that stands for the kevala-vṛksa of Ṛṣabhanātha. The triliner chatra is flanked by the divine hands playing on drums and cymbals. The garland bearers are also neatly depicted just below the divine hands playing musical instruments. The Tīrthaṅkara is attended by the usual two fly-whisk bearers. Both stand in a three quarter profile, turned towards the Jina with crossed legs. The flywhisks are hanging down. The twenty four miniature Tīrthaṅkaras are arranged in four horizontal rows of three figures each on either side. Just below the miniature Jinas, on both sides of the back-slab, are figures of the nine grahas (four on the right i.e., Sūrya, Maṅgala, Bṛhaspati, Śani and five on the left i.e., Soma, Budha, Śukra, Rāhu and Ketu), starting with Sūrya in the upper right position and ending with Ketu at the bottom left. The existing portion of the present image shows that the mūla-nāyaka has a svelte figure and the carving of the image is very sophisticated. The arms of the Jina hang down vertically along the stiff torso and the finger tips touch the thigh on either side. The back throne of the image consists of posts decorated with mouldings and criss-cross scratched pilasters, supporting a horizontal cross-bar with lightly incised square rhizomes at its ends, above which there are triangular fleurons. The pañca-ratha pedestal is quite unique. The bull lāñchana of the mūla-nāyaka, is neatly carved at the centre of the pedestal (the bull occupies the entire central projection) and placed between two abraded deities. These two deities, though badly eroded, can be identified as Gomukha and Cakreśvarī i.e., the yakṣa and yakṣiṇi of Tīrthaṅkara Ṛṣabhanātha. On the lowermost moulding of the pedestal and just below the bull is the depiction of a cakra. This cakra may be identifying as the dharma cakra. The ratha adjoining the central one has depictions of a male and female devotee kneeling in namaskāra-mudrā. The extreme projections, on both sides, have crouching lions. In the present image, the organization of space evident from the entire composition is remarkable. On stylistic grounds the image can be assigned to a period ranging from the tenth to the twelfth centuries CE.

Iconographically the Ṛṣabhanātha image from Sasandihi is very much similar with the Sitalpur and Sonadaha images (Pl.XXII.F). In this image the Jina is in the usual posture on a double-petalled lotus placed on a pañca-ratha pedestal. The icon measures 100 x 46 x 15 cm. The image is badly weathered and the face of the mūlanāyaka and the caurī-bearers are also damaged. The depictions of the elongated earlobes, jaṭājuṭa and the keśa-vallarī are quite prominent of the mūla-nāyaka. The ovoidal prabhā is embellished with beads and flame-tongued border devices and has a flowering twig on its either side. An elliptical śiraścakra with leafed edge adorns the head of the Saviour. On the edges of the back-slab, on a projected frame, miniature figures of twenty-four Tīrthaṅkaras are arranged in four horizontal rows of three each on either side of the mūla-nāyaka. Like the principal image, they also stand in kāyotsarga posture on a plain pedestal and their respective lāñchanas are carved at the centre of their thrones. Just below these twenty-four Tīrthaṅkaras nine planetary deities are depicts on both the sides of the mūla-nāyaka. These on the dexter side appear to be Maṅgal, Budha, Śukra and Śani; while those on sinister side are, Sūrya, Soma, Bṛhaspati Rāhu and Ketu. The bull, lāñchana of the Jina is carved at the centre of the pañca-ratha pedestal and flanked by two devotees in añjali-mudrā. Both the ends of the pedestal there is the depiction of a crouching lion.

Almost similar type of Ṛṣabhanātha image has been reported from the site Arsha, Purulia district (Pl.XXIII.A). The image is now re-installed in a modern temple and regularly worshiped by the villagers. The lower portion of this image is badly weathered and as a result of this it is very difficult to study the detailed iconography of the nine planetary deities, though the representations of the nine planetary deities are similar as the Sasandihi image. The others iconographic features of this image are comparatively alike, however, the present image is bigger than the Sasandihi image and it measures 130 x 62 x 14 cm.

An image of Ṛṣabhanātha of this variety is fixed in the modern Durga temple at Karcha (Pl.XXIII.B). This image is partially damaged and measures 80 x 42 x 15 cm. The elaborate back slab represents a tiered elevation of a bhadra or piḍha-deul topped by an āmalaka, which is almost lost and the Jina is so carved as if it is enshrined in a temple. The Jina in his usual posture is quite sensitively modelled and stands on a double-petalled lotus seat placed on a sapta-ratha pedestal. On either side of the back slab, beside both sides of the projected vertical section of the deul in which the Jina is placed, are miniature Tīrthaṅkaras arranged in six horizontal rows of two each. The Jina is attended by two badly damaged male caurī-bearers wearing succinct lower garments and ornaments and a conical jaṭā-like crown. They stand in ābhaṅga posture on a lotus pedestal and their left hands are in kaṭyāvalambita posture while the right hands hold fly-whisks. About midway of the decorated arch over the head of the Jina are the vidyādharas (on both sides). This arch is surmounted by the tri-linear chatra. The bull lāñchana of the mūla-nāyaka, is neatly carved at the centre of the pedestal. The most interesting feature of this image is the depiction of the nine planetary deities in unusual position. In Rāḍha region, most of the Tīrthaṅkara images bear the planetary deities in different positions. In the usual manner, we find the presence of planetary deities in seated or standing postures on either side of the Jina figures. However, the arrangement of the planetary deities in the pedestal or above the tri-linear umbrella of the Tīrthaṅkara is not very common in this region. The presence of planetary deities, particularly on the pedestal of Jain Tīrthaṅkara images, is very rare in Rāḍha. In case of the present image, the planetary deities are not only present on the pedestal of the image but also two planetary deities (Sūrya and Soma) are depicted on the both side of Tīrthaṅkara, just above the damaged heads of the male caurī-bearers. The remaining seven planetary deities are flanked on either side of the pedestal. The line starts with Maṅgal and followed by Budha and Bṛhaspati. On the right, the panel starts with Śukra and followed Śani, Rāhu and Ketu. All these planetary deities are depicted with their usual attributes and postures. On stylistic grounds the image can be assigned to a period ranging from the 10^th to the 12^th centuries CE.

A broken image of Ṛṣabhanātha of this type is presently housed in the temple no 3 of Pakbirra, Purulia. In this image the feet of the Jina on double-petalled lotus seat is survive along with the feets of the caurī-bearers. However, both the side of the remaining back-slab of the image contains the figures of the planetary deities. These on the dexter side appear to be Sūrya, Maṅgal, Bṛhaspati and Śani; while those on the sinister side are only Śukra and Rāhu are presently survive. All grahas are seated on viśvapadmas and show individual iconographic features. There is a clear depiction of the bull lāñchana at the central projection of the pañca-ratha pedestal and the adjoining ones depict lions facing opposite directions. On the remaining facets of the pedestal are figures of devotees (four on either side) in namaskāra-mudrā. The remaining portion of the image is measures 21 x 69 x 20 cm.

This type of a Ṛṣabhanātha image was discovered from Joypur (Pl.XXIII.C), Bankura district and presently exhibited in the VSPM, Visnupur. This image is made of chlorite stone and measures 75 x 43 cm. The upper part of the back-slab is damaged and the Jina is carved against a background consisting of plain posts in low relief that again supports a cross-bar having triangular carved plaques. These architectural constructs behind the protagonists are skillfully carved in most of the specimens in the present study area. Ṛṣabhanātha stands in kāyotsarga posture on a double-petalled lotus placed on a pañca-ratha pedestal. The bull lāñchana is depicted at the centre of the plain pedestal. The Jina is attended by two male caurī-bearers wearing succinct lower garments and different ornaments like necklaces, keyūra, kuṇḍala, and a conical jaṭā like crown. They stand in dvi-vanga posture on pedestals and their left hands are in kaṭyāvalambita posture while the right hands hold flywhisks. Ṛṣabhanātha’s coiffure is arranged in a jaṭājuṭa with keśa-vallarī falling down the sides of its head and over the shoulders. He is provided with a simple śiraścakra (partially damaged) embellished with a beaded border. There are depictions of miniature images of the twenty-four Tīrthaṅkaras, arranged in four vertical rows of three each on either side of the Jina. The left side of the stele is badly damaged and only a single row of miniature Tīrthaṅkara images is visible. In the lower part of the stele, eight planetary deities are depicted in a vertical row of four images on either side of the mūla-nāyaka. The deities on the right side of the Jina include Sūrya, Maṅgal, Bṛhaspati and Śani while those on its left side are Soma, Budha, Śukra and Rāhu. Two crouching devotees/donors are depicted on either side of the lower levels of the stele just above the pedestal. On stylistic consideration, the image is assignable to circa tenth to the twelfth centuries CE. Both the Jina and the parikara elements are jammed into the constricted space of the narrow back-slab.

A partially damaged image of this variety of Ṛṣabhanātha image was discovered Ghateswar (Pl.XXIII.D), South Twenty Four Parganas and presently displayed in the Asutosh Museum of Indian Art, University of Calcutta. Stylistically, this image is also similar with the earlier mentioned four images of this group (except the Karcha image). The image is badly weathered and the upper part of the left side back-slab of the image is lost, including the right side caurī-bearer. The Jina stands in kāyotsarga posture stands on a full blown lotus placed on a pañca-ratha pedestal. The principle Jina wears a jaṭājuṭa with keśa-vallarī falling down the side of its head and over the shoulders. An ovoidal śiraścakra is also partially visible which is decorated with rows of beads and leaves adorn the head of the savior. The upper portion of the right side back-slab decorated with twelve miniature Tīrthaṅkaras. Tīrthaṅkaras are arranged in four horizontal rows of three each on either side of the mūla-nāyaka, though the left side back-slab is missing. Just below this rows of miniature Tīrthaṅkaras eight planetary deities are depicted, like the earlier image. Left side of the back-slab contain the the representation of three planetary deties i,e,. Soma, Budha, Śukra however, the planetary deities of the right side are completely damaged. At the left end of the pañca-ratha pedestal contain the depiction of Rāhu, the eight planetary deities. This type of representation in coastal area is really rare. This lāñchana is flanked by two devotees in añjali-mudrā. On the lower part of either side of the pedestal there is the depiction of a crouching lion. The image measures 101 cm x 55 cm x 15 cm.