Planetary Deities type of Ṛṣabhanātha Sculptures

[Full title: Images of Tīrthaṅkara Ṛṣabhanātha (4): Planetary Deities type of Ṛṣabhanātha Sculptures]

I have documented nine images of Tīrthaṅkara Ṛṣabhanātha which bear the planetary deities on the back-slab of the image. Among these nine images, seven are from Purulia, one from Bankura and one from Mandoli, Rajsahi district of Bangladesh. The intact specimen of Tīrthaṅkara Ṛṣabhanātha from Surulia (Pl.XXII.A) is an exquisite one. Apart from the usual attributes what is significant in this image is the depiction of the nine planetary deities on the projected section on the edges of the back-slab. The planetary deities are seated on double-petalled lotus pedestals depicting their respective attributes. It is very interesting to note that both Rāhu and Ketu are depicted on the same lotus pedestal. Sūrya, Maṅgala, Bṛhaspati and Śani are on the right side of the Jina while on the left are Soma/Candra, Budha, Śukra, Rāhu and Ketu. The Jina in his usual posture is quite sensitively modelled and stands on a double-petalled lotus seat placed on a tri-ratha pedestal. The bull lāñchana of the mūla-nāyaka, is neatly carved at the centre of the pedestal between two crouching lions. The Jina wears an elegant jaṭājuṭa with keśa-vallarī falling down the sides of the head and over the shoulders and he is flanked on both sides by male caurī-bearers. An almost circular śiraścakra with leafed edges adorns the head of the saviour. Above the śiraścakra a tri-linear chatra is found which is flanked by two vidyādharas holding long garlands and just above them are two disembodied hands playing drums. This icon measures 61 x 29 x 8 cm.

A Ṛṣabhanātha image from Anai-Jambad contains eight planetary deities on the back-slab (Pl.XXII.B). In this image the Jina, stands in kāyotsarga posture on a double-petalled lotus placed on a tri-ratha pedestal. The bull lāñchana of the mūlanāyaka, is neatly carved at the centre of the pedestal (the bull occupies the entire central projection) and placed between two crouching lions (of the adjoining projections). On the left facet of the pedestal is pair of devotees with their arms joined in adoration, while on the right is votive offerings. The savior is nude; the hair is dressed in a tall elegant jaṭājuṭa. The keśa-vallarī of the Jina is falling down the sides of the head and over the shoulders. The Jina is flanked on both sides by stout and partially damaged male caurī-bearers. They wear deeply incised loin cloths and elaborate jewellery. Obviously, the modulation of surfaces apparent from the drapery and jewellery are restricted to these parikara elements. These caurī-bearers stand in ābhaṅga pose and hold a fly-whisk in their right hands and their left hands are in kaṭyāvalambita posture. 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. On the projected part of the back-slab there are eight planets (Joytiska-devas) arranged in a vertical row of four on either side of the Jina. Their depictions are considerably eroded. Those on the right side of the Jina appear to be Sūrya, Maṅgal, Bṛhaspati and Śani; while those on the left side are Soma, Budha, Śukra and Rāhu. All these figures are seated (except Rāhu) and show individual iconographic features.

Two images of Ṛṣabhanātha of this variety (Joytiska-devas) are documented from the well known archaeological site of Pakbirra. Among these two one is earlier reported (Bhattacharyya, Mitra & Bhowmick 1986: 155-6) and another one is new reported. The earlier reported image measures 66 x 36 x10 cm and this is a well preserved specimen. Only the face of the Tīrthaṅkara is slightly mutilated. In this image the Jina is in kāyotsarga and samapādasthānaka postures and stands on a full blown lotus placed on a tri-ratha pedestal. The mūla-nāyaka obviously 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 circular śiraścakra is embellished with rows of beads and leafy edges. Above it is a tri-linear chatra, flanked by vidyādharas hovering in the conventional representation of clouds. On either side of the mūla-nāyaka stand sensitively modelled cāmaradharas with their left hands in kaṭyāvalambita posture and the right hands holding a fly-whisk. Ratna-pātras heaped with offerings are placed on either side of the feet of the Jina. The central ratha of the pedestal bears the lāñchana of the Jina placed between two crouching lions. A kneeling upāsikā in añjali occupies one of the facets of the triratha pedestal, while the remaining is left blank. The projected frames at the edge of the back-slab are relieved with figures of eight Joytiska-devas. Their arrangement and iconic details are very much similar with the Anai-Jambad image. The Jina figure is flanked by pillar like structural appendages surmounted by triangular entities.

The newly documented image (Pl.XXII.C) measures 66 x 40x 6 cm and though we can consider this image in this group however, this image has some unusual features. The figure of the Jain is carved out on a rectangular back-slab with projected side frames. On the edge of the projected part of the back-slab are eight planetary deities arranged in two horizontal rows of two each on either side of the Jaina. This type of placement of Joytiska-devas is really unique and unusual in Jain images of the present study area are concerned. 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. Sūrya, the Sun god, holds two lotuses inn his two hands and the remaining six planetary deities hols a water pot in their left hand and right hand is in varada mudrā. The remaining one Rāhu appears as a large, bearded face without lower portion of body holding a crescent in his hands. Just above these planetary deities the projected part of the back-slab of the image reveals two miniature Tīrthaṅkaras on the each sideof the mūla-nāyaka. Four miniature Tīrthaṅkaras are standing in kāyotsarga posture with their respective lāñchanas depicted on their lotus seats. The mūla-nāyaka is in the usual kāyotsarga posture on a double-petalled lotuspedestal placed on a tri-ratha pedestal. The bull lāñchana of the Tīrthaṅkara is neatly carved in the central projection of the pedestal, while two crouching lions occupy the adjoining rathas. Jina is attended by two very small male caurī -bearers wearing lower garments and different ornaments. They stand in ābhaṅga posture on pedestals and their left hands are in kaṭyāvalambita posture while the right hands hold flywhisks. The mūla-nāyaka obviously devoid of any worldly attire, has elongated earlobes, and wears an elegant jaṭājuṭa with keśa-vallarī falling down the sides of the head and over the shoulders. Significantly, the modelling of the Jina is so stiff that it does not depict the fingers touching the thighs. The hands of the Jina simply hang down. A simple śiraścakra adorns the head of the saviour. Above the śiraścakra is the depiction of a tri-linear chatra flanked by two vidyādharas holding long garlands besides the divine hands playing on the drum and cymbals.

A partially damaged specimen of Ṛṣabhanātha is present in the Bauridhi village. This is made of chlorite stone and measures 88 cm x 47 cm x 15 cm. Visually, it is quite schematic and rigid and the plastic tendencies are minimal. The Jina stands in kāyotsarga posture on a double-petalled lotus placed on a pañca-ratha pedestal. The upper portion of the back-slab of the image is completely lost and the face of the Tīrthaṅkara is slightly mutilated. The mūla-nāyaka obviously devoid of any worldly attire, has elongated ear-lobes, and most probably wears an elegant jaṭājuṭa. The keśavallarī of the Jina is falling down the sides of the head and over the shoulders. An almost circular śiraścakra with leafed edges adorns the head of the saviour. The Jina is flanked on both sides by stout and partially damaged male caurī-bearers. They wear deeply incised loin cloths and elaborate jewellery and both of them have plain, small oval shaped halos. Obviously, the modulation of surfaces apparent from the drapery and jewellery are restricted to these parikara elements. These caurī-bearers stand in ābhaṅga pose and hold a fly-whisk in their right hands and their left hands are in kaṭyāvalambita posture. 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. On the projected part of the back-slab there are eight planets (Joytiska-devas) arranged in a vertical row of four on either side of the Jina. Their depictions are considerably eroded. Unfortunately, only six planetary deities are evident. Those on the right side of the Jina appear to be Maṅgal, Bṛhaspati and Śani; while those on the left side are Budha, Śukra and Rāhu. The images of Surya and Soma are not evident since the concerned parts are completely broken. All these figures are seated on high visvapadmas (except Rahu) and show individual iconographic features. 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 crouching lions (of the adjoining projections). There is no decorated border on the lower part of the pedestal. A male and a female devotee in namaskāra-mudrā (folded hands) are depicted on both ends of the pedestal. In the present image the organization of space evident from the entire composition is remarkable and well spaced. Elaborations in the back-slab are kept to a minimum.

Two broken images of Ṛṣabhanātha of this type are reported from Nangteshwari and Chakolta of Purulia district. The image of Nangtir Than measuring 60 cm x 60 cm x 14 cm portrays the Jina in his usual posture on a doublepetalled lotus seat placed on a tri-ratha pedestal and he is flanked by the caurī-bearers in tri-bhaṅga posture, their left hands in kaṭyāvalambita posture and the right hands holding a fly-whisk. The broken back-slab also depicts an abraded graha on the left side of the Jina just above the elliptical halo of the caurī-bearer. What is striking in this image is the elegant and simple pedestal depicting a lotus motif placed centrally below the lotus seat. The couchant bull lies below the motif and is flanked by two kneeling female devotees in namaskāra-mudrā. Two slender stalks issue from the lotus motif and terminate in the respective lotus pedestals of the caurī-bearers. The manner in which the carved stalks meander across the pedestal until they reach the lotus seats of the caurī-bearers is noteworthy.

The Chakolta image is much damaged, the portion above the thighs of the mūla-nāyaka being broken away. The image is measures 19 x 32 x 12 cm. The central part of the stylized tri-ratha pedestal of the Jina consist the bull, lāñchana of the Tīrthaṅkara. Only the left side caurī-bearer of the Jina is survived though the face of the caurī-bearer is damaged. The remaining left side projected part of the back-slab contains the depictions of Ketu, ninth planetary deity.

One image of Ṛṣabhanātha of this type was reported from Satpatta, Bankura district. The image measures 115 cm x 55 cm and is made of the same variety of chlorite stone encountered in the previous images. In this image the Jina stands in kāyotsarga posture on a double-petalled lotus placed on a pañca-ratha pedestal. The image is quite damaged especially the upper part of the stele portion. A significant part of the stele has been devoted to a not so well carved miniature piḍha type temple. The Jina wears a tall jaṭa-mukuṭa and is provided with an ovoidal śiraścakra embellished with rows of beads. The middle of the back-slab contains the depictions of planetary deities in two vertical rows of two each on either side of the mūlanāyaka. The planetary deities are separated from each other by carved pilasters. These on the dexter side appear to be Sūrya, Soma, Bṛhaspati and Śukra; while those on sinister side are Maṅgal, Budha, Śani and Rāhu. The back-slab also reveals two male caurī-bearers flanking the Jina. These profusely bejewelled caurī-bearers stand in divbhaṅga posture and their left hands are in kaṭyāvalambita posture while the right hands hold a fly-whisk. On the centre of the pañca-ratha pedestal below there is a bull, the lāñchana of the Jina, placed between two crouching lions.

The Rṣabhanāthạ image from Mandoil is also included in this group (Pl.XXII.D). The image measures 78 cm x 40 cm x 10 cm. The image is an example of high quality craftsmanship, though the Jina's head is damaged (Dasgupta 1976: 153, Mevissen 200: 350). The hair-locks of mūla-nāyaka are falling on both shoulders. Bull, the lāñchana of the Jaina, placed in the center of the nava-ratha pedestal. Ratna-pātra heaped with offerings is placed on the left side of the bull and the remaining portions of both the sides of pedestal are occupied by the kneeling upāsikas in añjali-mudra i.e., three on right side and two on the left side. They may be identified as possibly the donor's family. The Jina has an elaborate ovoidal śiraścakra adorns the head of the savior. Above it is a decorated chatra, flanked by two disembodied hands playing drums and just below this two vidyādharas hovering in the conventional representation of clouds. On either side of the mūla-nāyaka stand sensitively modelled cāmaradharas with their left hands in kaṭyāvalambita posture and the right hands holding a fly-whisk. They wear a short skirt whose folds are indicated through incised lines and which is held by a girdle; a flat necklace and a high pointed tiara and stands in the double petalled lotus placed on the same pedestal. The Jina figure is flanked by pillar like structural appendages surmounted by triangular entities. In this image the uniqueness is the lateral placement of the Navagrahas, five on the proper right and four on the proper left, with an additional figure of Gaṇeśa at the end of the sequence. This arrangement is usually not found on images from our present study area. The presence of Gaṇeśa in Jain images is also very unusual in our study area is concerned. The edges of the back-slab are decorated with the floral motifs.