Jain Remains of Ancient Bengal

by Shubha Majumder | 2017 | 147,217 words

This page relates ‘Jain Tutelary Couple or Parents of the Tirthankaras’ 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.

Jain Tutelary Couple or Parents of the Tīrthaṅkaras

In Jainism the worship of the Tutelary Couple or Parents of Tīrthaṅkaras appears to be ancient origin and they are invoked in various rites, especially in the pratiṣṭhāvidhi (Shah 1987: 47). It is intersting to noted here that the mothers are more frequently invoked than fathers and it is supported by the verious paintings as well as sculptures where mother is more often represented. However, from the present study area we get the representation of the Parents of Jina seated side by side and top of the back-slab miniature Jina is always present. In the pdestal of the image different seen associated with the life of the particular Jina is depicted. In most of the cases both the male and female figures holds a child on their lap.

It is reality that in the absence of proper literary references, the iconographic concept of Jain Tutelary Couple or Parents seems to be accepted as similar with the Buddhist couple Hāritī and Pāñcika. The purpose of this Buddhist couple is to protect the children as well as for prosperity (Bruhn 2000: 278). It is also assume that the popularity of the worshiped of Jain Tutelary Couple or Parents may also be associated with the Yakṣa cult, because Yakṣī Ambikā was very popular in Jainism as a mother goddess. The conception of the Jain Tutelary Couple or Parents may originated from the Yakṣī Ambikā (Shah 1987: 210; Tiwari 1983: 8). In the monumental works Bruhn have been discribed the designation of the Jain couple in chronological order i.e., Kubera and Bhadrā (Coomaraswamy 1931: pl.6, fig. 3), Yakṣa with his consort (Nawab 1944: pl.9, fig. 21), Gomedha and Ambikā (Kramrisch 1946, II: 397, pl. LIV; Mohapatra 1984: fig.64), Happy twins (Shah 195557: 28), Sacred couple (Bruhn 1959: 68-70), A Family Group (Pal 1994: 174-5), Probably Umā-Mahesvara (Sotheby’s 1982: fig 234), Jain Tutelary Couple (Bhattacharyya 1986: pls. 10, 12), Parents of the Jina (Shah 1987). Though there are different opinions about this particular form of Jain image, however, we can accepted this type of images as the Jain Tutelary Couple or Parents of the Tīrthaṅkaras because in many of the cases some life seen associated with the Tīrthaṅkaras are depicted in the pedestal of this type of images as well as a small miniature Tīrthaṅkara also present at the top center of the back-slab of this type of images. During my explorations I have been able to documented fourteen number of Jain Tutelary Couples or Parents images from different parts of present stydy area. Among these images twelve images from zone I area and two are from zone IV area.

Four Jain Tutelary Couple/ Ādimithuna Mūrti were reported from Pakbirra, Purulia (Bhattacharyya, Mitra & Bhowmick 1986: 138-43). Among the four images the bigger one is measures 92 x 44 x 14cm (Pl.XXXVIII.A). In this image the couple sits in ardha-paryaṅkāsana on a flat throne (fashioned likie a bench or stool) supporting with their left hand a child. Right arm of both are broken at elbow. The male figure is attired in a short dhotī and wears profuse jewellery comprising of armlets, keyūra, multi-stranded necklace, ear-ornaments, anklets, ratnopavīta, and a jewelled crested ribbon on his forehead. The female is attired in a diapthanous lower garment coming down to ankles, and is bejewelled in the same fashion as the male, except that a short three-crested crown adorns her head. Her hair is arranged in an arranged in an elegant bun resting on her shoulder. Shading both these figures is a sprouting palm tree, from the branching knot of which descends a miniature figure. Above the branches of the tree is a seated Jina in dhyāna. Vidyādharas can be seen on the top of almost square back-slab, and also a drum and a pair of cymbals struck by disembodied hands. Under the stool a water-pot with a knobbed lid and goblet are carved out. The central projection of the tri-ratha pedestal below bears five interesting figures-a lion rider followed by an animal headed creature; a Nagi and a crowned and bearded male, both seated on lotus and facing each other; and a female; the lastt four all holding a child-possibly making up an epiosde. The outer-facets of the pedestal are embellished with figures of a male and a female devotee in añjalimudrā.

The next one is measures 67 x 36 x 16cm and the male figure, to the right, sits in ardha-paryaṅkāsana, with the right hand held in abhaya-mudrā, the left resting on the right knee (Pl.XXXVIII.B). He wears a dhotī reaching well below the knee, and elaborate jewellery com-prising of-bracelets, armlets, beaded necklace, large circular kuṇḍalas, and an elegant ratna-mukuṭa. The female figure is similarly attired and bejewelled save an elegant coiffure with fillets replacing the ratna-mukuṭa. She holds a child in her left lap while her right hand is in varada-mudra. Shading both these figures is a stylized tree, on the branches of which sits a Jain in dhyāna on a lotus seat and under a tri-linear parasol. A crescent moon is delineated on the branching knot of the tree. Vidyādharas can be seen on the top-corners of the black-slab, while below the throne bearing the main figures, within a register, are seven Jyotiska-devas seated in different postures.

Third one is iconographically very close with the earlier two images and measures 66 x 38 x 14cm. Head of either figure of male and female are totally damaged and the entire sculptures being badly mutilated. The couple sits on separate lotus throne. The pedestal reveals six male figures seated in different āsana.

The fourth one is a pedestal of an image of Jain Tutelary Couple and its measures 44 x 58 x 16cm. The figures of the couple seated on the throne are almost totally broken away. The pedestal reveals eight human figures on a boat in different postures. Above them are pendent chains and bells, while below enclosed within horizontal bands is the stylized representation of the waves of the surging sea. The figures from right to left are (1) Seated female in namaskara, (2) Clapping male, (3) male with a Ms. (4) Male in abhaya, (5) Male in vyākhyāna, (6) Standing male with a staff, (7) Male with a Ms., (8) Male with a Ms.

In the center of the village Chharra there is a modern temple known as Basanti Devi Mandir and very near to this temple there is a late medieval cālā type temple dedicated to lord Śivā. An image of the Jain tutelary couple along with other Jain images fixed in the outside of the temple wall. This image is badly weathered and measure 29 x 38 cm. In this image, both male and female figures are seated on a plain pedestal with a stylized tree shading both the figures. Above the branches of the tree is a seated Jina figure in dhyāna-mudrā. The identification of the miniature Jina figure is very difficult.

Inside the Śiva mandir, another Jain tutelary couple figure is fixed on the left side wall. Here the tutelary couple sits in ardha-paryaṅkāsana on a flat throne each supporting a child with their left hands. Right arm of both the figures are badly damaged. The image is also worn and painted over by local people. It measures 42 cm x 25 cm. The male figure is attired in a short dhotī and wears elaborate jewellery. The female is attired in a diaphanous lower garment reaching down to her ankles and is bejewelled in the same fashion as the male. The stylized foliages of the tree shelter the couple and a miniature seated Jina in dhyāna-mudrā is depicted above one of the branches. The lāñchana of the Jina is not clearly visible.

At the centre of the Kurmasol village there is a modern Śiva temple constructed over an old temple ruins and inside this temple is a beautiful image of Jain tutelary couple, presently under worship (Pl.XXXVIII.C). The image measures 70 x 36 x 10 cm and the male figure, to the right, sits in ardha-paryaṅkāsana, with the right hand held in abhaya-mudrā, the left resting on the right knee. He wears a dhotī reaching well below the knee, and elaborate jewellery com-prising of-bracelets, armlets, beaded necklace, large circular kuṇḍalas, and an elegant ratna-mukuṭa. The female figure is similarly attired and bejewelled save an elegant coiffure with fillets replacing the ratna-mukuṭa. She holds a child in her left lap while her right hand she holds an indistinct object. Shading both these figures is a sprouting palm tree, from the branching knot of which decends a miniature figure. Above the branches of the tree is a seated Jina in dhyāna. Bull, the lāñchana of the Jina is clearly visible and profusely bejewelled cauri-bearers seated both the side of the Jina with their left hands rest on leg and the right hands hold fly-whisks. Under the stool a pot with a knobbed lid and goblet are carved out. At the lower part of the pedestal eleven miniature figures including a donor or devotee are engraved. The male or female devotee is present at the left corner of the pedestal and is in añjali-mudrā.

A badly weathered image of Jain tutelary couple made of greyish stone is presently keept in the Ramkrishna Mission Museum, Purulia. The image measures 43 x 27 x 10 cm and the iconic details of the image is almost disappear. Overall the image looks similar with the other images of this variety.

Bankura A highly abraded image of a Jain tutelary couple of greyish stone is presently worshipped in a house at Kotulpur, Bankura. This image is stylistically comparable to the image of a Jain tutelary couple found from different area of Purulia. The couple is seated on a throne in ardha-paryaṅkāsana posture. The pedestal below the throne is decorated with a series of seven pots. The male figure holds a child on his left lap by his left hand and the right hand is in abhaya-mudrā. He wears a dhotī like garment reaching well below his knee, and elaborate jewellery comprising bracelets, armlets, beaded necklace, large circular kuṇḍalas, and an elegant ratna-mukuṭa. The female figure holds a child in her left lap while her right hand is in varada-mudrā. The female is attired in a diaphanous lower garment reaching down to her ankles and is bejewelled in the same fashion as the male, except that a short three-crested crown adorns her head. Her hair is arranged in an elegant bun resting on her shoulder. The stylized foliages of a tree shelter the couple and a miniature seated Jina in dhyāna-mudrā is depicted above one of the branches. The lāñchana of the Jina is not clearly visible. Vidyādharas are in their usual position at the top corners of an almost square stele. A drum and a pair of cymbals struck by disembodied hands are also depicted. A similar image is presently in the P.C. Nahar collection, Kolkata.

A Jain tutelary couple found from Pakhanna and this is made of grey coloured stone (Pl.XXXVIII.D). In this image the couple sits in ardha-paryaṅkāsana posture on a double petalled lotus-pedestal. The male figure sits on the right, with the right hand held in abhaya-mudrā and his left hand holds some indistinct object. He wears a dhoti reaching well below the knee, and elaborate jewellery comprising bracelets, armlets, beaded necklace, large circular kuṇḍalas, and an elegant ratnamukuṭa. The female figure holds some indistinct object in her left hand while her right hand is in varada-mudrā. The female is attired in a diaphanous lower garment reaching down to her ankles and is bejewelled in the same elaborate fashion as the male, except that a short crown adorns her head. Her hair is arranged in an elegant bun resting on her shoulder. Sheltering both these figures is a sprouting stylized unidentified tree. Above the branches of the tree a miniature figure of Jina is seated in dhāyanāsana. The lāñchana of the Jina is not clearly visible. This image is presently not traceable. Both the Kotulpur and Pakhanna specimens are portable in nature.

A specimen of Jain Tutelary couple measures 44 cm x 41 cm x 3 cm is presently housed in the Khatra Police Station. The image shows the depiction of a male and female in a princely attire sitting in possibly ardha-paryaṅkāsana posture under a tree (only stem portion still survives) on a full blown lotus, placed on a triratha pedestal. However, it is very difficult to record the iconographic details of the sculptures because of its abraded condition. The female figure holds a child on her lap though the attribute held by the male figure is difficult to identify. The male figure is attired in a short dhotī and wears profuse jewellery comprising armlets, keyura, multistranded necklace, anklets and ratnopavīta. The female is dressed in a diaphanous lower garment coming down to the ankles, and is bejewelled in the same fashion as the male. Her hair is arranged in an elegant bun resting on her shoulder. It is also impossible to outline the iconographic features of the seated Jina figure on the top, generally depicted on this kind of images as the upper portion of the specimen is broken. The central projection of the tri-ratha pedestal below bears two interesting figures riding on horses. The outer-facets of the right side of pedestal are embellished with figures of a male and a female devotee in añjali-mudrā and in the left side one male figure in riding horse.

Sivasthan the place is situated at the south-western part of the Punchra village generally identified as a religious center presently associated with Brahmanical worship. However, the mix up assemblages (associated with Brahmanical, Buddhist, and Jain ideologies) in this complex is very difficult to identify the place as belonging to a particular religious ideology. The scattered pieces of architectural members, bricks and stone slabs show that there was an abandoned temple complex. Among the other specimens one broken image of a Jain Tutelary Couple (54 x 37 x 7 cm) is also documented. However, the Jain Tutelary Couple image is broken into two pieces and is made of grey coloured stone. In the lower portion of the present sculptural fragment depicts the couple sits in ardhaparyaṅkāsana posture on a double petalled lotus-pedestal. The male figure sits on the right, with the right hand held in abhaya-mudrā and his left hand holds some indistinct object. He wears a dhotī reaching well below the knee, and elaborate jewellery comprising bracelets, armlets and beaded necklace. The female figure holds some indistinct object in her left hand while her right hand is in varada-mudrā. The female is attired in a diaphanous lower garment reaching down to her ankles and is bejewelled in the same elaborate fashion as the male, except that a short crown adorns her head. Her hair is arranged in an elegant bun resting on her shoulder. Upper portion of the present image shows a miniature figure of Jina is seated in dhayanasana above the branches of the tree. The lanchana of the Jina is not clearly visible. Vīdyadharas can be seen on the top of almost square back-slab, and also a drum and a pair of cymbals struck by disembodied hands. Most probably a fragmented specimen of Jain Tutelary Couple is also keept in a school very close to this find-spot of the village.

A miniature Jain Tutelary Couple is presently displayed in District library Balurghat, Dakshin Dinajpur. The example (Pl.XXXVIII.E) is corroded and damaged here and there and not in good quality stone. The image is executed in low relief; the couple sit sharing a single double-petalled lotus under a tree, each holding a child in their left hand, the right legs being pendant supported by a lotus; in the tree above only faint remnants of a seated Jina figure, a general feature of such images, are preserved; on the pedestal are five sitting figures with folded hands and another sitting figure is on the extreme right corner. The image measures 16 x 10 x 8 cm and collected from the Kushmandi block of Dakshin Dinajpur.

A Jain Tutelary Couple was found from Mandoil at Deopara and this was belonged to the collection of the Rajshahi Museum but at present this image seems to be lost. Both figures hold a child in the left lap and offer a fruit with the right hand in varadamudrā. Five more children are depicted in the pedestal, flanked by two donor figures. Between the seated couple rises the trunk of a tree with three foliated branches. From the central branch hangs a swing on which sits another child. Thus the total number of children comes to eight. Above the tree is a Jina figure seated in dhyānamudrā on a lotus against a throne-back. He is flanked on either side by a standing, apparently nude figure with hands in greeting gesture; higher up are the ubiquitous garland-bearing vidyādharas floating on clouds. From behind the nimbus of the Jina rises the shaft of a triple umbrella.

Another sculpture of the Jain Tutelary Couple, also from Deopara and displayed in the Rajshahi Museum, Bangladesh (Pl.XXXVIII.F). It is a fairly large imagebut partially damaged and measuring 56 x 37 cm (Johne 2009: 299-301). Like the earlier images in the image portrays a male and a female figure each holding a child in the left lap and a fruit in the right hand showing varada mudrā. The couple is seated in ardhaparyaṅkāsana on a viśvapadma. Their right feet rest on padmas. The male figure is crowned with a high jaṭāmakuṭa, the hair of the female is arranged in a large bun; both wear all kinds of jewellery and upavītas. The two children grasp at the upavīta of their parents. Though the upper part of the sculpture is missing, the trunk of a tree is still discernible rising from behind the left arm of the male figure, suggesting that it once terminated in a tree with a seated Jina at the top. On the pañcaratha pedestal are carved four male figures seated on a common cushion. They are flanked by two kneeling figures in adoring pose, a bearded male on the proper right and a female on the opposite, possibly the donor couple. According to Kramrisch (1983: 237-9) because of certain features such as the elongated crown of the male, the mango like bun and hairstyle of the female decorated with flowers and curls, etc., the sculpture is datable to the second half of the twelfth century.

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