Jain Caumukha/Caumukhi or Caturmukhas

Caumukha is a miniature shrine-like object representing the Tīrthaṅkaras in each of the four faces. It is a very popular votive object among the Jainas. Caumukhas are in fact an essential accompaniment of Jain monastic establishments and are variously known as Caumukha/ Caumukhi or Chaturmukha or Sarvatobhadrapratimā. Before discussing the iconographic details of caumukha specimens recorded from different zones of the present study region, a brief overview about the origin and antiquity of the caumukha image in Jain ideology is mentioned in the present discourse.

The antiquity of this quadruple art object among the Jainas is evident from the Kuṣāṇa level finds at Kankali Tila, Mathura (Shah 1955: 11-2). The site yielded a large number of this type of quadruple images having four Jainas on four sides, facing the cardinal directions. Some of these art objects are inscribed with the term pratimāsarvatobhadrikā on their pedestals which was useful in identifying such sculptural specimens (Smith 1946: 47). The term pratimāsarvatobhadrikā might be taken to mean “auspicious from all sides” and these of images later became popular as caumukhas. It must, however, be remembered that not all the four-fold images found from Kankali Tila, Mathura have inscriptions referring to them as pratimāsarvatobhadrikā.

The origin and utility of this type of sculptural specimen in Jain religion have been discussed by several scholars.

B.C. Bhattacharya opines:

“In place of the Brahmanic Trimurti, there is the Jain Quadruple, popularly known as “Caumukhi”. It has the further name of Sarvatobhadra-Pratimā i.e. auspicious from all sides. It is a broad obelisk representing the figure of a Tīrthaṅkara on each of the four sides. There seems to be no regularity as to the particular Jainas to be sculptured there. But the most important of them have, as a rule, been selected for representation in a Caumukhi” (Bhattacharya 1974: 34).

On the other hand, R.D. Banerji states that:

“Caturmmukhas or Caumukhas, as they are called by Jainas of the present day, were made in a peculiar fashion. Images of four patriarchs occupy the four sides of a miniature temple. In this respect, these Caturmukhas differ from their prototypes of the ancient period e.g. the four-fold images or pratima sarvatobhadrikā of the Mathura School of sculpture and from the modern and medieval chaturmukhas of Rajputana and Central India. They are more or less like the Buddhist miniature temples of the Eastern School” (Banerji 1980: 144-146).

U.P. Shah opined that the idea of the caumukha shrine seems to have originated from the concept of samavarsaṇa which means: “preaching of a Tīrthaṅkara after the attainment by him of the Kevala knowledge”. In the samavarsaṇa programme, a raised platform was built and the Jina sat in the centre. However, in order to make him visible to the entire audience who had gathered on all sides of the central platform, three images of the same Jain were installed on the remaining three sides. Shah’s opinion regarding the present form of caumukha image, i.e. four different Jain images on the four sides, is, therefore, advancement upon the original earlier conception of samavarasaṇa (Shah 1987: 25-26).

The significance of samavarsaṇa has also been dealt with by Hemachandra, who states that Indra built samavarsaṇa in order to provide Ṛṣabhanātha with a suitable place from where he could preach the kevala or knowledge. As the master took his seat on a lion throne inside the samavarsaṇa to propagate the supreme wisdom (or jñāna) the vyantara devatās or the attendant deities created three more images of the lord and placed them in three other sides of the shrine, so that one could approach him from all cardinal directions. Be that as it may in the original stage, the fact remains that these caumukhi objects as we see today, have come down to us as an iconographic motif of a four-faced form of a temple image, indicating thereby the absorption of various aspects into one consecrated symbol.

Indeed, the four-faced image–as a symbolic representation of the Tīrthaṅkaras in the act of preaching–has been a popular motif in Jain iconography from very early times. It is in this context that one may recall the views of S.K. Saraswati (1975: 26573) who seems to have argued that the four-faced shrine, sarvatobhadrika, appears to be the logical answer to the four-faced votive object conceived by the Jainas. He mentions that the Paharpur temple, although associated with Buddhist ideology, was architecturally influenced by the Jain caumukha temple. In this context, one should recall that the temple of Pagan in Burma was also influenced by the style of the Jain caumukha temple.

Sudhin De, (1971: 27-30) in his work, supported the view of U.P. Shah regarding the Jain caumukha sculpture and similarly postulates that the installations of such caumukha in ancient times were possibly symbolic representations of samavasaraṇa. He highlighted the fact that the caumukha sculpture later influenced the Caumukha variety of temples of which the Paharpur temple was the best example. This form of architecture even travelled outside the country and some of the temples in Indonesia, such as the temples of Chandi Sewn and Chandi Lorojongrong exhibited traits of this architectural form.

Thus, one can conclude that the concept behind the origin of Jain caumukha sculpture was, to some extent, influenced by the concept of samavasaraṇa. However, none of the early Jain works like Kalpa-sutra and the Paumachariyam refer to the installation of Jain images on the remaining three sides during the samavasaraṇa programme. It is first mentioned only in the works of the 8^th -9^th century CE. It is rather difficult to find any traditional basis for the conception of the Jain caumukhi from the Jain works. On the other hand, we come across a number of such sculptures in contemporary and even earlier Indian art which might have inspired the Jainas to carve Jain caumukha. It is not impossible that certain representations, such as the Sarnath and Sanchi lion-capitals and multi-faced Yakṣa figures, and later on some multi-headed Brahmanical deities, may have been the source of inspiration for the caumukha. We are also tempted to call these Jain caumukha figures–showing four different Jainas, equal in status on four sides, a form of composite (saṃghata) icon, which thus marked the beginning of the rendering of syncretic images in the Jain context. Detailed studies are required to determine the proper concept behind the origin of this unique sculptural specimen. During the present course of work I have been documented a good number of Jain caumukha shrines from different parts of the study area.

1. The site Pakbirra possesses four different types of caumukha shrines. The first caumukha (57.5 x 23cm) is representative of a piḍhā deul. The shrine has two mouldings in the pābhāga region–just above these mouldings on the four facets stands a Tīrthaṅkara in kāyotsarga (Pl.XXXIX.A), under niches formed by stout pilasters relieved with criss-cross floral designs supporting the lower most piḍhā. The four Tīrthaṅkaras are Chandraprabha, Śāntinātha, Ṛṣabhanātha and one is not identified. The Tīrthaṅkaras stand under a chatra and are attended by seated cāmaradhara on either side. Very small figures of vidyādharas holding garlands project from the top of the pilasters flanking the Jainas. The gaṇḍi of the shrine has three piḍhās with intervening recesses, the lowermost of which is perforated and shaped like windows. The piḍhās are embellished with horizontal bands of criss-cross floral festoons and petals. At the top of the lowest piḍhā, on all four facets, there is a figure of a swan pecking at a garland with its beak. The top of the shrine is decorated by an āmalaka śilā and was most probably surmounted by perhaps a kalaśa which is now lost.

2. This caumukha is very similar to the earlier one (Pl.XXXIX.B). It measures 52x18cm. In this specimen the śikhara has only two piḍhās which are separated by a comparatively large recess with perforated window designs. Four Tīrthaṅkaras are seated in dhyāna on a padmasana on the four facets of this caumukha. Their respective lāñchanas are carved in the centre of the lotus seats and it is on the basis of these lāñchanas that the four Tīrthaṅkaras are identified as Tīrthaṅkaras Ajitanātha, Chandraprabha, Śāntinātha and Neminātha. The lower piḍhā shows, on all four facets, figures of a swan couple holding a long garland with their beaks. The crowing element of the shrine is a thick and broad beki surmounted by a large āmalaka. The pedestal of this caumukha is decorated with a double-petalled lotus.

3. This caumukha (44cm x16cm) is architecturally different from the earlier two specimens and it is represented in the form of a miniature rekha temple of the triratha type. The pādapīṭha consists of three mouldings projecting outwards, at the centre of which are shallow niches which extend over the four sides of the caumukha; these niches consist of the lāñchanas of the respective Tīrthaṅkaras. Above the pādapīṭha, deep niches have been carved on the extended plan of the central projection, each containing a standing Tīrthaṅkara in kāyotsarga posture with the attendant figures. On the basis of their respective lāñchanas the Tīrthaṅkaras are identified as Ṛṣabhanātha, Chandraprabha, Śāntinātha and Pāśvanātha. Just below the feet of the Tīrthaṅkara Ṛṣabhanātha, a single-line inscription is noticed. However, the present condition of this inscription is very bad and it is very difficult to decipher it properly. The upper facets of the niches projected outward in the shape of a chaitya motif, flung out on two sides which rest on thin pilasters. On the śikhara portion of this caumukha are to be found shallow niches arranged in vertical order, which hold Jain figures in diminishing numbers from the top. The damaged flat āmalaka is capped by a stunted pot.

4. This caumukha is rather simpler than the earlier ones, although it is really important for it’s a short dedicatory inscription. This rekha-type miniature shrine has a triratha plan having on each of its four sides the figure of a Tīrthaṅkara standing in kāyotsarga posture under the decorated trefoil arch. The Tīrthaṅkaras are attended by miniature bejewelled cāmaradhara on either side. The pādapīṭha consists of three lower mouldings and one upper mouldings and one upper moulding (just below the pādapīṭha of the Tīrthaṅkara), at the centre of which are found the lāñchana of the respective Tīrthaṅkaras. On the basis of these lāñchanas we are able to identify the four Tīrthaṅkaras as: Ṛṣabhanātha, Naminātha, Neminātha and Pāśvanātha. Tīrthaṅkara Pāśvanātha stands under a canopy of seven snake hoods; a snake is also depicted on his pādapīṭha. The central moulding of one pādapīṭha at the side is decorated with three ratna-pātras and a figure of a kneeling devotee in añjali mudrā. Just below this, the lower moulding contains a short inscription–this is most probably a dedicatory inscription. This shrine has a short beki surmounted by an āmalaka crowned by a small pot. It measures 47x12cm.

5. I have documented five caumukhas from Chharra. Among them two are presently at the site and three are displayed in different museums. The first specimen of caumukha or chaturmukha shows a miniature shrine of Orissan rekha deul style. It has a triratha plan. The four cardinal sides have images of the Tīrthaṅkaras Ṛṣabhanātha, Pāśvanātha and Śāntinātha and an unidentified. The Tīrthaṅkaras stand in kāyotsarga posture on a small lotus pedestal under trefoil arches and are flanked by attendants on both sides. The lotus pedestal of the Tīrthaṅkaras consists of their respective lāñchana. The gaṇḍi has three divisions. The central paga have each, one row of shallow niches arranged in vertical order, holding Jina figures in diminishing numbers from the top. The remaining pagas have khura-shaped mouldings. The top of the shrine is decorated by an āmalaka śila and was most probably surmounted by perhaps a kalaśa which is now lost. The pādapīṭha of the present specimen is not visible and it may be assumed to have had some mouldings. This superb piece of miniature shrine which is called by the Jainas as caturmukha or caumukha is made of grey-coloured stone. The extant part measures 52cm x14cm.

6. The next specimen is a slim miniature shrine of Orissan rekha deul variety. It is square in plan. The four central niches are filled with four standing (kāyotsarga) Jinas placed artistically under the arches. The lower portion of the specimen is buried underneath, as a result of which it is not possible to identify the four Tīrthaṅkaras. The gaṇḍi portion of this specimen has three divisions. The central pagas of the specimen is plain while the other two kanikā pagas are decorated with khura-shaped mouldings. The other features depicted here are identical with those of the previous one and the measurement is also the same.

7. Apart from these two caumukha, the Haripada Sahitya Mandir Museum in Purulia town possesses another specimen of a Jain caumukha (Pl.XXXIX.C) collected from this site. The present caumukha is a superb artistic specimen and it measures 56 x 20cm. This specimen is a miniature form of a rekha duel and is triratha in plan. The four central niches are filled with four Tīrthaṅkaras standing in kāyotsarga posture placed on a small lotus pedestal. The images are flanked by attendants on both sides. In the niches the four Tīrthaṅkaras are placed artistically under the trefoil arches. The existence of these arches is very interesting because we do not find the use of such arches in the rekha temples of Manbhum standing to this day. The pādapīṭha consists of three lower mouldings projecting outwards at the side, which again is beset with three upper mouldings in the centre producing a shallow niche showing the respective lāñchanas of the Tīrthaṅkaras. The four Tīrthaṅkaras are Śāntinātha, Pāśvanātha, Chandraprabha and Ṛṣabhanātha. The gaṇḍi portion of the present specimen has five divisions. The central paga have each, one row of shallow niches arranged in vertical order, holding Jina figures in diminishing number from the top. The other pagas have khura-shaped mouldings. This miniature temple most probably was crowned by an āmalaka surmounted by kalaśa. Unfortunately, these two are not present.

8. Similar type of a Jain caumukha or caturmukha from Chharra is presently displayed in the Ramkrishna Mission Museum, Purulia. The specimen measures 54 cm x 18 cm. It is well carved and represents a miniature rekha deul, which is triratha in plan. The pābhāga portion of this specimen has two mouldings and is decorated with the respective lañchanas of the four Tīrthaṅkaras. The jāṅgha part has a central niche in the cardinal directions. In the niches, the Tīrthaṅkaras (Candraprabha, Śāntinātha, Pāśvanātha and Mahāvīra) are depicted artistically under a beautifully carved trefoil arch and is surmounted by a stylized kīrtimukha. The śikhara shows a typical madhyalatā with some gavākṣa motifs flanked by pratiratha and karna-ratha. There are no corner āmlakas on the karna-ratha composed of kapotapali mouldings. The tall śikhara is crowned by a heavy āmlaka surmounted by a small damaged kalaśa. Another image of a Jain caumukha or caturmukha from Chharra is presently in the collection of Indian Museum, Kolkata. A photograph of this specimen was earlier published in Indian Archaeology-A Review, 1960-61 (p. 67 & pl. LXXVIII B). It shows the curvilinear form of the roof with vertical rows of decorative features, consisting of replicas of the temple with figures of Jain Tīrthaṅkaras in between them. According to R.C.Mazumdar, “this is a distinctive feature and not found in any actual temple of this type in Bengal” (Mazumdar 1943: 167).

9. The State Archaeological Museum of West Bengal exhibits a damaged specimen of a caumukha recovered from Chharra. It measures 31 cm x 15 cm. The deul is triratha in plan with curvilinear outline of the gaṇḍi. The bāḍa portion is decorated with 3 niches placed vertically, one above the other containing e pairs of Tīrthaṅkaras placed in 3 vertical friezes on the rāha of all the 4 sides. The lower portion of the specimen is completely lost and the crown is also badly damaged (Sengupta and Saha 2014: 248).

10. The site Baramoshya also possesses two caumukha specimes. Among the two caumukhas the bigger one is measures 60cm x18cm and the smaller one is 55cm x 18cm and both are made of grey coloured stone. In both the cases the deul is pañcharatha in plan with the curvilinear outline of a gaṇḍi. The śikhara is decorated with horizontal bands rising in receding steps and the central portion is carved with floral scroll. Unfortunately, the crowning members (āmalaka and kalaśa) of this miniature shrine are completely missing. The bāḍa portion of this caumukha is decorated with four arched niches which contain the figures of four Tīrthaṅkaras. They stand in kāyotsarga posture and their respective lāñchanas are carved in the centre of the lotus thorn; on the basis of these lāñchanas the four Tīrthaṅkaras are identified as Ṛṣabhanātha, Candraprabha, Śāntinātha and Pāśvanātha. The Tīrthaṅkaras have miniature figures of cāmaradhara on either side. The pādapīṭha of this caumukha has three mouldings.

11. The other caumukhas is highly abraded and it is very difficult to identify the three Tīrthaṅkaras. Only Tīrthaṅkara Pāśvanātha is identifiable on the basis of the snake canopy. In the case of the other three Tīrthaṅkaras, their respective lāñchanas are carved on the centre of the pedestal though the conditions of these lāñchanas are very bad. This caumukha is more or less to the similar to the earlier one; however, this slim miniature temple is tri-ratha in plan with three mouldings in the pābhāga. In the central niches are sculptured four standing figures of Tīrthaṅkaras under tri-foiled arches. The gaṇḍi has three divisions of which the central one has some floral decoration. This caumukha has a miniature āmalaka surmounted by an abraded kalaśa. It measures 48 x 10cm.

12. A caumukha is also reported from Suissa. The caumukha specimen of Suisa is a miniature form of a rekha deul and is tri ratha in plan (Pl.XXXIX.D). The four central niches are filled with four Tīrthaṅkaras seated in dhyāna posture placed on double-petalled lotus pedestal. At the centre of their pedestal, respective lāñchanas of the Tīrthaṅkaras are depicted and on the basis of these we are able to identify the four Tīrthaṅkaras i.e. Ṛṣabhanātha, Śāntinātha, Pāśvanātha and Mahāvīra. The pādapīṭha consists of three mouldings. The śikhara is decorated with horizontal bands rising in receding steps, the central paga of which is carved by floral scrolls; it is wide at the base but grows narrow as it mounts to the top. The beki portion of this specimen is totally lost. The other pāgas have khurā-shaped mouldings. This specimen is made of grey coloured stone and measures 80 cm x28 cm.

13. An exquisite image of piḍhā deul variety of caumukha is presently worshipped in a newly constructed temple of Vasardanga. According to the local villagers they brought this image from a place near the Kansavati river bed. This specimen (Pl.XXXIX.E) is made of chlorite stone and measures 80 cm x25cm. Four sides of this miniature shrine have the figures of the Tīrthaṅkaras standing in kāyotsarga and samapādasthānaka postures on a full-blown lotus. The Tīrthaṅkaras are placed between stout pilasters relieved with floral scroll designs. The pādapīṭha has two mouldings, the area between which is decorated with window designs. The respective lāñchanas of the Tīrthaṅkaras are placed just below the lotus pedestal of the Tīrthaṅkaras which help in the identification of the Tīrthaṅkaras as: Ṛṣabhanātha, Candraprabha, Pāśvanātha and Mahāvīra. The gaṇḍi of the shrine has 6 piḍhās with intervening recesses which are also decorated. The piḍhās are embellished with two horizontal bands i.e. drooping lotus petals and floral scrolls. Although this is a piḍhā deul, the gaṇḍi portion has a central paga, decorated with three caitya motifs. The crowning element of the shrine is a thick and broad beki surmounted by a large āmalaka.

14. Close to the modern Śiva temple of Badra there is a ritual spot known as Sasthitala. In this place I have recorded a highly abraded Jain caumukha shrine which is worshipped as sasthi. It is made of grey stone and measures 55 cm x 20 cm. The present caumukha looks like a miniature temple, circular in shape, and above the śikhara an āmlaka is depicted. This specimen most probably looks like Orissan rekha deul variety, however, due to the bad stage of condition we felt to study the detail artistic features of this votive specimen. The images depicted on the four faces of the shrine have been carved in low relief. Interestingly, the Jinas carved are in dhāyanāsana posture, which is not regularly found in the caumukhas from Purulia.

15. Two well decorated caumukha specimens are presently worshiped in a temple of Sonadaha. The śikharas are decorated with horizontal bands rising in receding steps. Incidentally, the shape of the śikharas and the series of mouldings in both the specimens are different. The central pagas are decorated with floral motifs constituting different patterns. The bāḍa portion has arched niches containing figures of standing Tïrthaṅkaras, one each on the four sides. The first one shows Ṛṣabhanātha, Candraprabha, Pārśvanātha and Mahāvīra. Similarly, the next one shows Pārśvanātha, Mahāvīra, Ṛabhanātha and Candraprabha.

16. The caumukha of Bhangra is presently kept in the reconstructed Jain temple and it is stylistically important and similar to some other caumukha specimens reported from Purulia. This caumukha (Pl.XXXIX.F) is a slim miniature shrine of Orissan rekha deul variety. It is square in plan. The 4 central niches depict standing Jinas. The lower portion of the specimen is plastered, as a result of which it is not possible to identify the individual Tīrthaṅkaras. The images are flanked by attendants on both sides. In the niches, the 4 Tīrthaṅkaras are placed artistically under the trefoil arches. The existence of these arches is very interesting because we do not find the use of such arches in the rekha temples of Manbhum standing to this day. The gaṇḍi portion of this specimen has three divisions. The central pagas of the specimen is plain while the other two kanikāpagas are decorated with khura-shaped mouldings. This miniature temple most probably was crowned by an āmalaka surmounted by kalaśa. Unfortunately, these two are not present. This caumukha is made of grey-coloured stone and the extant part measures 42cm x14cm.

17. The caumukha specimen of Palma is a miniature form of a rekhā deul and is pañca-ratha in plan. The four central niches are filled with four Tīrthaṅkaras seated in dhyāna posture placed on double-petalled lotus pedestal. At the centre of their pedestal, respective lāñchhanas of the Tīrthaṅkaras are depicted and on the basis of these we are able to identify the four Tīrthaṅkaras i.e. Ṛṣabhanātha, Candraprabha, Pārśvanātha and Mahāvīra. The śikhara is decorated with horizontal bands rising in receding steps, the central paga of which is carved by floral scrolls; it is wide at the base but grows narrow as it mounts to the top. The beki portion of this specimen is totally lost. The other two pagas have khura-shaped mouldings. This specimen is made of grey coloured stone and measures 56 x 18cm.

18. Inside the Viṣṇu temple of Arsha village two magnificent Viṣṇu images are installed along with two Jain caumukhas. Both these caumukhas are the result of high quality of craftsmanship. The smaller one is measure 54 x 15 cm. and the bigger one is 80 x 18 cm. including its page. Both these caumukhas are closely similar with the Bhangra and smaller specimen of Sonadaha. These two are made of grey coloured stone and gradually lost the iconographic details due to the regular worship. The smaller one is tri-ratha in plan with the curvilinear outline of a gandi, while the bigger one is pañca-ratha in plan. In both the cases śikhara is decorated with horizontal bands rising in receding steps and the central portion is carved with floral scroll. In both the caumukhas the amalakas are visible however, unfortunately, the crowning member i.e., kalasha of this miniature shrines are completely missing. The bāḍa portions of both the caumukhas are decorated with four arched niches which contain the figures of four Tīrthaṅkaras. They stand in kāyotsarga posture and their respective lāñchanas are carved in the centre of the lotus thorn; on the basis of these lāñchanas in both the cases the four Tīrthaṅkaras are identified as Ṛṣabhanātha, Candraprabha, Śāntinātha and Pārśvanātha. The Tīrthaṅkaras have miniature figures of camaradhara on either side.

19. The caumukha of Tumaba is badly weathered and measures 50 x 20 cm. This specimen is similar with the caumukha from Bhangra and it is Orissan rekha deul variety. The four central niches depict standing Jinas, placed artistically under the trefoil arches, i.e. Tīrthaṅkara Ṛṣabhanātha, Candraprabha, Śāntinātha and Pārśvanātha. The images are flanked by attendants on both sides. The gandi portion of this specimen has three divisions. The central pagas of the specimen is plain while the other two kanikāpagas are decorated with mouldings. The crowned āmalaka surmounted by kalasha was missing.

20. The present caumukha of Sirgi is a superb artistic specimen and it measures 46 x 20 cm (Majumder 2016: 240). It has a tri-ratha plan. The four cardinal sides have images of the Tīrthaṅkaras Ṛṣabhanātha, Śāntinātha, Pārśvanātha and Mahāvīra. The Tīrthaṅkaras stand in kāyotsarga posture on a small lotus pedestal under trefoil arches and are flanked by attendants on both sides. The lotus pedestal of the Tīrthaṅkaras consists of their respective lāñchanas. The gandi has three divisions. The śikhara is decorated with horizontal bands rising in receding steps and the central portion is carved with khura-shaped mouldings. The top of the shrine is decorated by an āmalakasilā and was most probably surmounted by perhaps a kalasa which is now lost.

21. A broken Jain caumukha was also noticed during the recent exploration from the Raghunathpur village, 6 km away from Bandoyan block of this district. The specimen is kept in the modern temple of the village known as Bura Babar Mandir and this is under worship. The caumukha measure 44 x 19 cm and the bada portions of the caumukha is decorated with four arched niches which contain the figures of four Tīrthaṅkaras. They stand in kāyotsarga posture and their respective lāñchanas are carved in the centre of the lotus thorn but due to the abraded condition it is not possible to identify the four Tīrthaṅkaras.

22. A caumukha from Jay Krishnapur is presently in the collection of the VSPM, Vishnupur. This specimen is made of greyish stone and measuring 30cm x 13cm. It is well carved and represents a miniature piḍhā deul. It has four diminishing piḍhās as it ascends to the top which is crowned by an āmalakaśilā. Four Tīrthaṅkaras in kāyotsarga posture and under trefoiled arches are carved in the central niches of the four sides of the caumukha. The Jinas are flanked by attendants on both sides. Stylistically, this specimen is quite stout with four horizontal tiers constituting the curvilinear śikhara. The specimen is quite abraded and the stone used is of local provenance. This crudely carved caumukha is less refined from those found from other sites of the study area as well as from the site of Pakbira and other parts of the district. However, like most of the caumukha specimens from the district, the height of the miniature Jina depicted below the niche reaches more than half the height of the entire caumukha.

23. Another caumukha found from Kotulpur is presently in the collection of the State Archaeological Museum, West Bengal. This specimen is a miniature form of a piḍhādeul. The four cardinal sides have Jina images. It may be noted here that some of the caumukhas are rekha deuls of superb quality in miniature forms. Some such specimens have striking similarities with the famous full-sized rekha deuls of Bankura viz. Bahulara, Harmasra and others.

24. A beautiful Jain votive stūpa (caumukha or chaturmukha) is noticeable amidst the locally worshipped deity and heaps of terracotta offerings at Manasatala of Pakhanna. This chlorite specimen has figures of Tīrthaṅkaras in dhāyanāsana posture on all the four sides men is made of chlorite stone and measures 66 cm x 31 cm. It is square in shape and is a miniature model of a śikhara temple.

25. The village Hat Asuria has yielded a stray find of a Jain votive shrine (caumukha) on a low mound at the eastern end of the village. The lower part of the finely executed specimen is buried under the earth and it may be assignable to circa twelfth-thirteen centuries CE.

26. At the outskirt of the Punchra/Pachhra village a Jain school known as Bhagavan Mahavira Digambara Jain Sarak High School has the collection of five sculptural specimens of Jain faith, which are said to be collected from the different localities of Punchra. Among them a damaged Jain caumukha (35 x 20 cm) was also noticed. Iconographically the miniature caurmukha shrine is quite unique. It is a look likes a miniature pidhā deul. Four side of the shrine Tīrthaṅkaras are seated and standing in dhyānasana and kayotsarga under niches formed by pilasters. The Tīrthaṅkara figures are not identifiable due to their abraded respective cognizance. The gandi portion of the shrine has three pidhās with intervening recesses. The pidhās are decorated with horizontal bands. The top portion of the shrine is damaged.

27. A Jain caumukha which is presently displayed in a local museum of Dr. Tulsicharan Bhattacharya Smriti Sangrahasala, South Bishnupur, South 24-Parganas district, West Bengal was collected from Jamtala of South 24 Parganas (Pl.XXXIX.G). The present caumukha looks like a miniature temple, circular in shape, and the śikhara is missing. The present specimen measures 17 cm in height and 7 cm in diameter. The caumukha depicts four Tīrthaṅkaras on the four sides of this miniature deul. The images are placed inside niches separated by pilasters worked out all round. The lower portion of the object is highly damaged. Among the four Jain Tīrthaṅkara images three images are identifiable on the basis of their respective cognizances and Yakṣī. The identifiable Tīrthaṅkara images are Ṛṣabhanātha, Neminātha, Pārśvanātha and Mahāvīra. The rest one Tīrthaṅkara image is not identifiable because the cognizance of the Tīrthaṅkara is missing. All the Tīrthaṅkaras are depicted standing in kāyatosarga posture except Neminātha, he is seated in dhyāna mudrā on a lotus seat. The finely carved four mula-nāyakas bear svelte figure, a lucid expression and the spiritual power is successfully reflected. In the three cases, where Tīrthaṅkaras are standing, arms of the Jinas hang down vertically along the stiff torso and the finger tips touch the thigh on either side. Interestingly, in this specimen some usual things are missing which are commonly found associated with the Jain Tīrthaṅkaras like the cauri-bearers, śiraścakra and the kevala-tree etc.The first

Tīrthaṅkara Ṛṣabhanātha has the usual jaṭājuṭa and keśa-vallarī falling down the side of his head and over the shoulders. Below his feet the highly defaced bull, the cognizance of this Tīrthaṅkara, is depicted. On the opposite face of the Ṛṣabhanātha image the Tīrthaṅkara represented is probably Neminātha. He is depicted seated on a lotus throne and unfortunately the head of the Jina is missing. Below his lotus seat a lady figure is depicted. The bejewelled Yakṣī is seated in mahārājalilāsana on a throne under a stylized tree which forms an arch over her head. She lends support to a child seated on her lap with her left hand, while in her right she holds an indistinct object, possibly a fruit. This image can be identified as the image of Ambikā, the Yakṣī of the twenty-second Tīrthaṅkara Neminātha. Though in this image her mount, the lion, is missing or defaced, however, the tree which is depicted over her head can be explained as a mango-tree laden with fruits. Similarly, the object held by the Yakṣī in her right hand could well be a mango. Another interesting feature of the relief is the spacing of the Jina and his Yakṣī in almost equal size contrary to the prevalent practices. Such representations are not commonly found among the Jain sculptural remains of Bengal. Till date two specimens of this variety are reported.The other identifiable Tīrthaṅkara of the present specimen is the image of the twenty third Tīrthaṅkara Pārśvanātha. He is standing under the seven hooded snake canopy. The upper right portion of the image is badly damaged. The rest one Tīrthaṅkara is not identifiable because his cognizance is damaged.

The most important iconographic feature of the present specimen is the representation of the planetary deities. The present caumukha image under study bears the depiction of planetary deities. In this image the image of Ṛṣabhanātha is flanked by representations of the planetary deities. The eight planetary deities-Sūrya, Candra, Maṅgala, Budha, Bṛhaspati, Śukra, Śani and Rāhu -are arranged in two rows of four each on both sides of Ṛṣabhanātha on the pilasters. To the right the depiction of the deities on the pilaster starts with Sūrya, seated in padmāsana posture and holding two lotuses in both the hands, followed by Maṅgal, holding a spear and Bṛhaspati with water pots. At the bottom of the right side we find Śani characterized by his lame left leg seated and holding an indistinct object. On the other side the panel of grahas starts with Candra holds his usual attribute, followed by Buddha with bow and then Śukra with a water pot and, at the end of the panel, Rāhu is depicted with his large head and both hands turned towards the mulanayaka. This type of Jain caumukha having the depiction of planetary deities is quite unique among the Jain iconography (Majumder 2012c.: 33-37.

28. In the Goalpara locality of Baragram there is a modern Śiva temple adjoining a pond and on the western bank of this pond there are a few Jain sculptural fragments. There is an abraded caumukha with images of four patriarchs or Tīrthaṅkaras occupying the four sides of the miniature shrine. Among the four Tīrthaṅkaras three are identifiable on the basis of their lāñchanas which are placed just below the lotus pedestal of the Tīrthaṅkaras. The identified Tīrthaṅkaras are Ṛṣabhanātha, Candraprabha and Mahāvīra. The caumukha measures 43 x 22 cm.

29. A small caumukha was reported from Sat Deula (Pl.XXXIX.H) village of West Midnapur. The specimen of caumukha shows a miniature shrine of Orissan rekha deul style. It has a triratha plan. It is square in plan. The four cardinal sides have images of the Tīrthaṅkaras Ṛṣabhanātha, Pāśvanātha and Śāntinātha and an unidentified. The Tīrthaṅkaras stand in kāyotsarga posture on a small lotus pedestal under trefoil arches and are flanked by attendants on both sides.The gaṇḍi portion of this specimen has three divisions. The central pagas of the specimen is plain while the other two kanikā pagas are decorated with khura-shaped mouldings. The other features depicted here are identical with those of the previous one and the measurement is also the same. The specimen measures 42cm x14cm.

30. A beautiful image of piḍhā deul variety of caumukha is presently worshipped in the temple premises of Itahar Police Station (Pl.XXXIX.I). According to the information it was brought a nearby place. This specimen is made of chlorite stone and measures 68 cm x15cm. Four sides of this miniature shrine have the figures of the Tīrthaṅkaras standing in kāyotsarga and samapādasthānaka postures. The respective lāñchanas of the Tīrthaṅkaras are placed in the pedestal and these are helping me to identify of the Tīrthaṅkaras as: Ṛṣabhanātha, Candraprabha, Śāntinātha and Mahāvīra. Above the head of the Tīrthaṅkaras a tri-linear chatra is engraved. The gaṇḍi of the shrine has 5 piḍhās with intervening recesses which are also decorated. The piḍhās are embellished with two horizontal bands i.e. drooping lotus petals and floral scrolls. Although this is a piḍhā deul, the gaṇḍi portion has a central paga, decorated with two caitya motifs. The crowning element of the shrine is a thick and broad beki surmounted by a large āmalaka.

31. A tiny image of caumukha is presently kept in the temple of Gohagram and this image is under worshiped. It is measures 10 x 4 cm. Due to the abraded condition it is unfortunate to study the iconic details of this caumukha.