Caubīsī type of Mahāvīra sculptures

[Full title: Tīrthaṅkara Mahāvīra (3): Caubīsī type of Mahāvīra sculptures]

Till today four images of caubīsī type Tīrthaṅkara Mahāvīra sculptures are reported from different parts of ancient Bengal. Among them three images from Purulia district and one from Burdwan district.

The image of Mahāvīra from Dhadki is well-executed (Pl.XXXIV.E). The specimen is made of greyish stone and measures 91 cm x 36 cm. The Jina stands in kāyotsarga pose on a double-petalled lotus placed on a pañca-ratha pedestal. A circular śiraścakra with leafed edges `adorns the head of the Saviour. Above the śiraścakra is a partially damaged tri-linear chatra flanked by two vidyādharas holding long garlands. The Jina figure is flanked by pillar like structural appendages surmounted by triangular fleurons. The deity is flanked by two attendants who are sparsely clad and elegantly jewelled. Their left hands are in kaṭyāvalambita posture and the right hands hold fly-whisks. The stela is bordered by miniature figures of the twenty-four Tīrthaṅkaras, arranged in four horizontal rows of three each on either side of the mūla-nāyaka. A lion is carved at the centre of the pañca-ratha pedestal. 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 icon (Pl.XXXIV.F) of Tatari is made of chlorite stone and measures 112 cm x 62 cm x 10 cm. The Jain is in the usual posture on a double-petalled lotus placed on a pañca-ratha pedestal. The Jina is placed within a shallow rectangular recess outlined by a raised panel/projection on both sides of the Jina and along its top. The image of the Jain does not illustrate the usual stiffness. The body is softly carved and the coiffure carefully detailed. The eyes of the Jina are open with the look directed downwards and there is the depiction of a slight smile. Above the ovoidal śiraścakra with leafed edges is probably a tri-linear chatra but that particular part is broken. Two flower motifs (containing two leaves and a flower) are neatly carved as issuing out from the upper part of the śiraścakra on its either side. These motifs could be the stylized rendering of the caityavṛksa of the Tīrthaṅkara. On the raised panel above the śiraścakra are depictions of the disembodied (divine) hands playing on the drums (to the left of the Jina) and the cymbals (to the right of the Jina). The two vidyādharas holding long garlands are depicted on the extreme top most corners of the stela. The depictions of the clouds are noteworthy. Below the two vidyādharas and on the raised projection outlining the stela are six horizontal rows of two miniature Tīrthaṅkaras on both sides of the Jina. Even the respective lāñchanas of the miniature Tīrthaṅkaras are minutely carved. The male cauri-bearers flanking the Jina wear deeply incised loin cloths and elaborate jewellery. The male cauri-bearers in ābhaṅga posture, have small oval halos, stands on lotus pedestals and their left hands are in kaṭyāvalambita posture while their right hands hold a fly-whisk. The shallow recessed portion of the back slab behind the main Jina reveals a raised throne (of same height as the raised projection bordering the back-slab on three sides) containing a vertical section surmounted by a double moulded cross-bar having two triangular fleurons at the top and on both sides. These triangular fleurons on both sides of the lower part of the śiraścakra are further embellished with exquisite carvings of a centrally placed trilobed motif from which a spear-head like motif arises and again from this central design, foliages emerge and touch the outlines of the triangular fleuron. Undoubtedly, it is the work of a master craftsman and the entire composition signifies perfect symmetry and poise. It seems that the iconometric rules prescribed in the Jain canons (those dealing with iconography) have been adhered to by the craftsman. The slight curvature of the arms of the Jina and the slender disposition of the miniature Tīrthaṅkaras are noteworthy as they add to the balance of the entire organization of space evident from the back-slab. The lion lāñchana is at the centre of the main ratha of the pedestal and the adjoining rathas bear depictions of two crouching lions. At both ends of the pedestal two devotees are seated in namaskāra-mudrā.

An image of Tīrthaṅkara Mahāvīra is kept inside the Śiva temple of Sirarai village. This is a small image measures 31x 18 x 4 cm. and badly weathered. The Jain stands in the kāyotsarga posture on a double-petalled lotus placed on a tri-ratha pedestal. The matted locks of hair with pronounced uṣṇīṣa and elongated ear-lobs are his chief marks of identification. The edge of the back-slab, on a projected frame, miniature figures of twenty-four Tīrthaṅkaras arranged in four horizontal rows of three each on either side of the mūla-nāyaka are depicted. Like the principal image, they also stand in kāyotsarga posture on a lotus pedestal depicting their respective lāñchanas. The ovoidal prabhā-maṇḍala is adorned with lotus petals on the edges, and has on either side a rosette carved on the back-slab. Above the head of the Jina is a three-tiered parasol damaged at the front, which is flanked by a pair of heavenly hands playng on drums and cymbals. The usual vidyādharas holding long floweeing garlands can be seen on the top corners of the back-slab hovering in the conventional representation of clouds.