Jaina Antiquities in Ayodhya (Balasore)

Being situated on the ancient route from Magadha to Kalinga, Jainism marked a high watermark at Ayodhya, a small village in the Nilagiri sub-division of Balasore district. It was a center of cultural hub during the medieval period known from the archaeological remains of ruined temple, abandoned walls, votive temples/ stupas, sculptures, earthen potsherd etc. scattered all over. A number of Jaina antiquities are found in this area along with Brahmanical and Buddhist sculpture. A sixteen sided monolithic dhvajastamba is installed in front of the Marichi temple. The special attraction of the dhvajastamba is its crowning figure lion, which is the vehicle of the Mahavira and Sasanadevi Ambika. Inside the Maninageswar temple two pieces of Jaina sculpture are kept inside the temple. One of them is the figure of Risabhanatha and the other is a figure of Gomedha and Ambika in a common stone slab.^[1]

Few sculptures of Jaina pantheon are reported in the private possession^[2]. Sri Hadibandhu Raj preserves two Jaina sculptures such as one image of Parsvanatha and the other is of Ambika. Sri Bhagavata Behera, another villager, preserves an image of Mahavira in his residence. In the premises of Ayodhya High School, a lower part of Parsvanatha and upper part of Tirthankara image are also found. But, unfortunately few of the images in private collection are not now with the private individuals; they are either donated, theft or sold. In order to preserve and protect these scattered beautiful Jaina sculptures along with other sculptures of different faith Odisha State Archaeology constructed (1983-1991) a small museum building here^[3] (Pl.IVC).

It has displayed five Jaina sculptures [which are collected from the area and taken as gift from the villagers]:

1. Risabhanatha,
2. Lower part of a Tirthankara image,
3. Parsvanatha,
4. Ambika with Yaksha Gomedha,
5. Chaumukha.

Risabhanatha:

Risabhanatha (60x30x10cm) is carved standing in kayotsarga posture over a double petalled lotus pedestal below which his lanchana bull is depicted (Pl.VA). The bull is flanked by kneeling devotees with folded hands offering oblations and further by spirited lions. The Tirthankara is crowned with a high jatamukuta and few strand of it fall over his shoulders. The Tirthankara is flanked by well decked chauri bearers at the bottom and flying garland bearer and divine musical instruments at the top while in between them astagrahas are depicted, four on either side. The most interesting feature of the Tirthankara is the depiction of a decorative trefoil arch surmounted by a pidha structure and the carving of outline of the body of the Tirthankara behind him which are rare depiction in Odishan Jaina art. There is a elongated positive socket below the stone slab indicates it was fixed in somewhere.

Tirthankara image (Mahavira?):

The headless Tirthankara image (38x28x10cm) is carved standing in kayotsarga posture over a full blown lotus pedestal (Pl.VB). A circular space is left below his feet may be for the carving of the lanchana but left unfinished. The circular shape indicates to be of a wheel symbol. Thus, it can be presumed to be an image Mahavira. The Tirthankara is flanked by chauri bearers and spirited lions. The positions of spirited lions are not usual found in the Odishan sculptures. Remnants of a torana along with the pilasters can be seen behind the Tirthankara.

Parsvanatha:

The twenty third Tirthankara Parsvanatha is carved out of black chlorite stone (1.40x0.75x0.36m). He is standing in kayotsarga posture over a lotus pedestal below which kneeling devotees with folded hands, garlands pays homage to the Tirthankara (Pl.VC). A seven hooded snake canopy is seen behind his head and the curly tails at the back of the Tirthankara. Besides, chauri bearers, flying gandharvas and divine musicians in their respective positions; astagrahas and the Kamath attack is seen on the either side of the Tirthankara image.

Ambika with Gomedha:

Ambika along with Yaksha Gomedha (50x26x14cm) are seated over a lotus pedestal (Pl.VD). Seated in lalitasana posture she is with a baby in her left lap while Gomedha is seen in rajalilasana. His left hand placed over the pedestal while right hand is missing. Both the deities are lavishly decorated with costumes and ornaments. Below their pedestal seven kneeling devotees are depicted with offering oblation to them. A tree studded with flowers and fruits are depicted behind them and at the center, a child swinging a swing. Neminatha, the twenty-second Tirthankara appears in dhyanamudra and flanked by chauri bearers and garland bearers.

Chaumukha:

This is one of the rare Jaina chaumukha which depicts the twenty four Tirthankaras instead of usual one or four Tirthankaras (Pl.VIA). This is designed as like a miniature pidha structure in triratha pattern. The lower portion of the central raha paga engraved with Jaina Tirthankaras like Parsvanatha, Chandraprabha, Padmaprabha and the fourth one could not be identified due to damage condition.

They are identified by their respective lanchana carved at the pedestal and they flanked by chauri bearers. Five Tirthankaras each depicted within a circular design on each cardinal direction at the raha paga. The bisama portion of the miniature temple has dopichha simhas and mastaka is crowned with a large amlaka. A male socket is also noticed at the base of the chaumukha. The way of stylistically representation of the chaumukha and the Tirthankara is very rare in Odisha.

Footnotes and references:

[1]:

H.C. Dash, “Religious History of Balesore”, Subash Pani & et al. (eds.), Glimpses of History and Culture of Balesore, Orissa State Museum, Bhubaneswar, 1988, pp. 54-259.

[2]:

R.P. Mohapatra, Jaina Monuments of Orissa, New Delhi, 1984, pp.107-108.

[3]:

Broacher on “Archaeological Museum, Ayodhya, Balasore”, Odisha State Archaeology Department, Department of Culture, Odisha, Bhubaneswar.