Jain Remains of Ancient Bengal

by Shubha Majumder | 2017 | 147,217 words

This page relates ‘Miniature Tirthankara and Planatary Deities type of Shantinatha’ of the study on the Jain Remains of Ancient Bengal based on the fields of Geography, Archaeology, Art and Iconography. Jainism represents a way of life incorporating non-violence and approaches religion from humanitarian viewpoint. Ancient Bengal comprises modern West Bengal and the Republic of Bangladesh, Eastern India. Here, Jainism was allowed to flourish from the pre-Christian times up until the 10th century CE, along with Buddhism.

Miniature Tīrthaṅkara and Planatary Deities type of Śāntinātha

[Full title: Images of Tīrthaṅkara Śāntinātha (4): Miniature Tīrthaṅkara and Planatary Deities type of Śāntinātha Sculptures]

A magnificient image of Tīrthaṅkara Śāntinātha (Roy 1989: 44-47) is presently worshiped in a modern temple of Babladiha, Burdwan district (Pl.XXVIII.F). However, at present this image is worshiped as Nyantesvara Śiva (Majumder 2012a: 128-137). The present image was discovered from the nearby river bed of the Ajay by one of the forefather of the present Brahmin custodians of the deity. The image (132 cm x 19.4 cm x 12 cm) was carved out of fine-grained blackbasalt, probably quarried from the neighboring hills of Rajmahal of Bihar. The mūlanāyaka bears a svelte figure and the carving of the image is very sophisticated. The central figure stands in kāyotsarga posture on a viśvapadma placed on a sapta-ratha pedestal. Both the arms of the Tīrthaṅkara hang down vertically along the stiff torso and the finger tips touching the thigh on both side and his both legs come close to each other. The hair style of this image shows schematic curls and his lips are thick. The image has elongated ear-lobes touching the shoulder of the Tīrthaṅkara and his facial expression is more lucid. The chest of the Tīrthaṅkara has the depiction of nipples. In the image the composition of space is well integrated and the yogic or spiritual power of the mūla-nāyaka is reflected by the skillful carving. The central figure is flanked by two male caurī-bearers standing in ābhaṅga postures on the double petalled lotus. Both of them wear highly bejewelled mukuṭa, ratna-kuṇḍalas, necklace and is clad in a diaphanous uttariya and dhoti. The dhoti reaches up to the knees and is tied by a girdle with a knot in its both side and from the former hangs the tassels. The two caurī-bearers are holding a fly-brush in one hand and the other rests on thigh. The embellishments and physical features of the caurī-bearers show a much higher degree of artistic proficiency and their representations are quite lively and are in graceful

The back-slab of the image is rectangular and is surmounted by an arched top. The head of the Tīrthaṅkara is covered with the usual sacred trilinear umbrella. Caityavṛksa, the tree associated with the kevalajñāna of the Tīrthaṅkara Śāntinātha is nandi vṛksa stylistically depicted below the chatra. On both sides of the uṣṇīṣa of the mūla-nāyaka the heavenly musician-couple playing drums are just below the kevala vṛksa, while gandharvas with garlands are occupies the space on the both side of the oval-shaped halo or prabāmaṇḍala. Other characteristic features of the image are four miniature Jinas depicted on either side of the central figure or mūla-nāyaka.

Among these the two depicted on the lower part, standing in kāyotsarga posture on double petaled lotus besides the caurī-bearers, are without their usual lāñchanas. The other two miniature form of Tīrthaṅkaras are also standing in kāayotsarga posture on double pettaled lotus on either side of the upper part of the main image and are identified as third Tīrthaṅkara Saṃbhavanātha in the right side of the mūla-nāyaka and twelve Tīrthaṅkara Vāsupūjya in the left side, identified on the basis of their respective lāñchanas horse and buffalo. Beside this the upper part of the stele also depicts vyāla figures couchant elephants on the both sides of the main image, holding some objects in their trunks and just above of the elephants are a pair of lions. As a whole iconographic features of this Jain image is closely similar with the other Viṣṇu images discovered from this district as well as other parts of West Bengal. The Viṣṇu image from Itahar police station in south Dinajpur district and the Viṣṇu image of Nak-kati in Burdwan district are iconographically very close to the Babladiha Jain image. This hypothesis is based on the fact that the contours of the Viṣṇu images with respect to their steles are very much similar to the contour of the Babladiha Jain image. The composition of the stele that is if the stele is divided into different compartment that the organization of the entire space allotted to the stele is very much similar in the above three cases.

In the center of the pañca-ratha pedestal deer, the lāñchana of the sixteenth Tīrthaṅkara Śānthinātha is depicted. The lāñchana is flanked on either side by the figures of nine planetary deities (Navagraha) (Mevissen 2000: 349). The row of the planetary deities starts from the extreme left with a figure of a devotee is depicted with namaskāra-mudrā and seated in padmasana posture followed by the first group of four grahas, started with Sūrya, Candra, Maṅgala and Budh. In this sculpture Sūrya (Sun) is seated in padmasana posture and holding two lotuses in both the hands. His head is partially damaged According to the Jain scriptures he has been described as the deity of the East and husband of Ratnā Devi. The next image is the Moon–god, Candra (Moon) who is said to be the master of stars and ruler of the north–west Quarters. In this image Candra is seated in ardha-paryaṅkāsana, with a pot in his left hand and right hand is in varada mudrā. Followed by the image of Candra, the image of Maṅgala (Mars) is depicted. In the Jain texts Maṅgala is described as the son of the earth and ruler of the South. Here he holding the shaft of a spear (sakti) in his left hand and right hand is in varada mudrā. Budha is the last image among the four grahas of the left section (Mercury), In this sculptures he is recognized by his voluminous hair style (some portion of his leg is completely damaged) and by the arrow held obliquely in front of his chest. According to the Jain texts he is the ruler of the North region. The four grahas are seated on cushion without embellishments.

On the right, next to the cihna the remaining five grahas are depicted and the row started with Bṛhaspati (Jupiter) followed by Śukra (Venus). Both of them seated in ardha-paryaṅkāsana and their right hand placed in front of their chest as depicted the teaching attitude. Unfortunately their left hands are resting over their thigh and holding indistinct objects, may be kamaṇḍalu. According to the Jain conical texts Bṛhaspati is the ruler of the north–eastern quarters and Śukra is the ruler of the south-eastern region and teacher of Demons. Śani (Saturn) is clearly distinguished by his peculiar sitting pose and the staff with a roundish top. None of the Jain texts refer to the terrific form of last two un-auspicious planetary deities Rāhu and Ketu who have only been referred to as ruler of south-western and ruler without any region respectively. In the present sculpture both Rahu and Ketu are present. Rāhu is identified with his robust like head and his hands are in the tarpana mudrā same as in the Brahmanical Navagraha sculptures and snake-tailed Ketu (9) holding sword in his right hand and a fire pot in his left hand. On stylistic grounds the image may be assignable to pre Pāla period.

The Tīrthaṅkara Śāntinātha image from Manoharpur is very much similar with the earlier image though this is a small size image (Pl.XXIX.A). The image under study is regularly worshipped and as a result of this it lost its iconic details. In this image the Jina stands in kāyotsarga posture on a double-petalled lotus placed on a tri-ratha pedestal, the central projection of which bears the lāñchana i.e., deer. The lāñchana is flanked on either side by the figures of eight planetary deities (graha) and both the ends of the pedestal decorated with crouching lion. The row of the planetary deities starts from the extreme left with the figure of Sūrya, Candra, Maṅgala and Budh. On the right, next to the cihna the remaining five grahas are depicted and the row started with Bṛhaspati followed by Śukra, Śani and Rāhu. It is quite unique that all the planetary deities in this pedestal are standing postures and holding their respective attribute. The Jina is sky-clad, has elongated ear-lobes, and his hair is arranged in schematic curls with a prominent uśṇiṅa. The circular śiraścakra is gracefully rimmed with rows of leaves and beads, and has flowering twiga on either side. The small but proportionate chatra is slightly damaged at the front. Vidyādharas holding garlands can be seen on the top of the parikara, and also a drum and a pair of cymbals struck by disembodied hands. On either side stands male caurī-bearers is graceful pose, wearing short lower garments and elegant ornaments comprising of wristlets, armlets, ekāvalī, kuṇḍalas, and a tall ratnamukuṭa. On the edge of the backslab are four miniatures Jina arranged in a vertical row of two on either side of the Jina. The back of the throne onsists of jeweled posts supporting a cross-bar on which are triangular foliated plaques.

A beautifully carved image of Jain Tīrthaṅkara Śāntinātha is placed in the sanctum cella of a ruined temple of Deoli village, Purulia (Pl.XXIX.B). The whole pedestal of the image is installed into the earth of the palatial temple covering the cognizance and other pedestal figures out of the vision for which the image defy identification. However, during the recent visit I personally try to trace the cognizance of the Jina and I found that figure of deer is depict at the decorated pedestal. In this image the Jina is shown as installed within shrine which is fronted by a trefoil arch and surmounted by a curvilinear śikhara of the nagara order. The Jina is standing in kāyotsarga pose on a double-petalled lotus placed on a pedestal. The mūla-nāyaka obviously devoid of any worldly attire has elongated ear-lobes, and his hair is arranged in schematic curls with prominent uṣṇīṣa. The Jina figure is flanked by pillar like structural appendages surmounted by triangular entities. An oblong śiraścakra with leafed edges adorns the head of the savior. The śiraścakra has flowering twigs on either side as well as musicians. The trilinear chatra of the image is highly decorated. Divine hands playing cymbals and a drum are carved on either corner of the back-slab. Two flying figures or vidyādharas are shown in the upper angles, offering garlands to the Jina. A flutted āmalakaśīlā is placed on the trunk top of the back-slab. A lion is carved at the base of the āmalaka suggesting the lion throne.

The two lateral side-images rest on two planes. The upper edge of the back–slab is relieved with twelve miniature Jinas arranged on either side (six in a row). Like the principle image they also stand in kāyotsarga posture with their respective lāñchanas carved below the pedestal. On the edges of the back-slab, on a projected frame, miniature figures of nine planets (jyotiṣka-deva) are depict, arranged in five on right side of the Jina and four on the left side. Those on the dexter side appear to be Sūrya, Maṅgala, Bṛhaspati, Śani and Ketu; while those on the sinister side are Soma, Buddha, Śukra and Rāhu. The nine planetary deities are seated in their usual postures (Sūrya is seated in padmasana posture and except Rāhu and Ketu remaining six planetary deities are seated in ardha-paryaṅkāsana posture) and holding their respective attributes in both the hands. All the nine planetary deities are seated inside a small miniature tyoe of temple. Near basement gajaśārdūlas standing on lotus bases are carved on right and left sides. Interstingly close to the gajaśārdūlas a male and female deitie are depict in seated posture inside a miniature temple and they mey be identify as the Yakṣa and Yakṣiṇī of the Jina. This mage is carved delicately with high work-manship in chlorite and measures 135 cm x 72 cm x 15 cm. Sri Sasti Prasad Banerji of the village informed that the Hindu populace even today worship the image on Jyaistha (May-June) saṅkrānti amd other religious auspicious festiv days to fulfil one’s vows (Bhowmick 1983:42).

Except these images during our extensive field surveys in the different parts of our study area we have also able to document some completely damabged specimens of Tīrthaṅkara Śāntinātha images. In some cases only the pedestal portion are survived and some time pedestal along with body portion of the Tīrthaṅkara are survived. Among this variety we found a lower portion of an image of Tīrthaṅkara Śāntinātha from Mudidhi. The pañca-ratha pedestal exhibits the lāñchana of the Jina i.e. the deer and next raths are decorated with crouching lions, facing opposite directions. Devotees in namaskāra-mudrā (folded hands) is seated on the both the ends of the rathas of the pedestal. The feet of the Jina placed on a double-petalled lotus. The interesting feature of this image is the representations of ratna-pātras between the feet of the caurī-bearers and mūla-nāyaka. Anothe damaged image of this Tīrthaṅkara is presently housed in the Haripada Sahitya Mandir Museum in Purulia and this was discovered from the excavation of Kotra (Gajpur). This image is badly damaged the head, right hand and the back-slab of the image is completely lost. The Jina is in the usual posture on a double-petalled lotus placed on a tri-ratha pedestal. The icon measures 95 x 46 x 15 cm. The deer, lāñchana of the Jina is carved at the centre of the pedestal and flanked by devotees in añjali-mudrā. Both the ends of the pedestal there is the depiction of a crouching lion. The Jina is flanked on both sides by stout male four handed caurī-bearers. They wear deeply incised loin cloths and elaborate jewellery. These caurī-bearers stand in ābhaṅga pose and hold a fly-whisk in their right hands. Except the above images an image of Śāntinātha was reported by M. L. Singha (Singha 1390 BS: 13) from Sihar, Bankura and not only that there is a doubtful image of this Jina now preserved in the VSPM, Vishnupur.

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