Jainism in Odisha (Orissa)
by Ashis Ranjan Sahoo | 2015 | 106,639 words
This essay studies the presence of Jainism in Odisha or Orissa by documenting the Art, Architecture and Iconography of Jaina images, relics, structures and establishments from different districts. In Odisha, archaeological evidences show how Jainism flourished during the 1st century BCE during the reign of emperor Kharavela, stating that Jainism wa...
Jaina Antiquities in Charampa (Bhadrak)
Charampa the large village is situated near the Bhadrak railway station. The village yielded a hoard of Jaina images and from where Odisha State Museum collected four Jaina sculptures viz., Risabhanatha, Ajitanatha, Santinatha and Mahavira[1]. Even today an image of Parsvanatha as Kharakhia thakurani is worshipped as gramadevati under a banyan tree near Rahania tank in Barala-pokhari area and an Ambika image as gramadevati in an open mandapa are found at the village[2].
A peculiar feature of these images is that a number of double concave cut marks found on their bodies. These cut marks are certainly a deviation from the other Jaina images of Odisha. Different explanations/opinions have been given by scholars about the significance of these cut marks. A few scholars opine that the images remind the believer of the faith for the condition through which a Tirthankara passed to attain salvation that affords him a strong incentive to follow the noble example of Tirthankaras in life. But after the discovery of such cut marks on Jaina images of Ada, the doorjamb in the temple complex of Khajuresvara at Shergarh, on the back slab of a Buddhist image Tara and an Ananta Visnu at Kaupur near Bhadrak and the chlorite slabs found at Baringia near the Ananta-sayi Visnu image[3] narrates something different. Though, the concave cut marks on the body of images pertaining to different pantheons found in this region, the cut marks were engraved by the artists as a regional trademark or done by religious iconoclasts during course of time.
Parsvanatha:
The Tirthankara worshipped as Kharakhia Thakurani is located in a modern RCC structure at the north-east corner of the Rahania tank and the tank is about 18acres in area (Pls.XIIIA-XIIIC). The image of Parsvanatha is carved standing in kayotsarga posture over a double petalled lotus pedestal. A canopy of seven hooded snake is noticed over his head, flying gandharvas with garlands, heavenly music played with hands, trilinear umbrella, kevala tree, chauri bearers are noticed at the image. Cut marks are found on the body of the image which is partially damaged.
Ambika:
The Sasanadevi now worshipped as Gramadevati Jagulei (Pls.XIVA-XIVB), originally brought from Rahania tank is seated in lalitasana posture with a baby in her left lap and a bunch of mangoes in the right hand. She is depicted under a mango tree and lion, the lanchana of the deity is depicted at the pedestal.
The four images (Pls.XIVC-XVC) preserved in the museum are quite noteworthy[4].
Risabhanatha:
Risabhanatha (1.55x0.68m), the first Jaina Tirthankara is standing in the kayotsarga posture. The face is partly mutilated and flanked by two chauri bearers. Flying vidyadharas with garlands flanked on either side of the oval in shape prabhamandala. Around the image eight planets (astagrahas) have been beautifully carved. Below the pedestal the cognizance mark lanchana bull is clearly visible.
Ajitanatha:
Ajitanatha (1.10x0.78m), the Tirthankara is carved seated in dhyanamudra over a lotus pedestal. His lanchana elephant is depicted on its pedestal. The chauri bearers, trilinear umbrella and other usual features are splendidly carved on the Tirthankara image. As like other Jaina images from Charampa, this image has also got many cut-marks on its body.
Santinatha:
The third Tirthankara from Charampa is seated in dhyanamudra. The lanchana deer is clearly visible on the pedestal. Besides the cognizance deer all other features are similar to the style of Ajitanatha.
Mahavira:
The fourth and the last image from Charampa is Mahavira, 24th Jaina Tirthankara is standing in kayotsarga posture. The garlands on either side of the image hangs down from the half concealed flying vidyadhara couples which enhance the beauty of the image. The other features of the image are oval prabhamandala and chauri bearers.
On the basis of iconographical features, stylistic finish and display of astagrahas the sculptures found from Charampa may be dated to the 8th / 9th century CE.[5]
Footnotes and references:
[1]:
M.P. Dash, “Antiquities of Charampa”, OHRJ, Vol. XI. No.1. pp.50-53.
[2]:
R.P. Mohapatra, op.cit., 1984, p.110.
[3]:
B. Tripathy, op.cit., 2013, pp.69-73.
[4]:
J. Rath, “Jaina Sculptures in Orissa State Museum”, Orissa Review, May 2005, pp.66-69.
[5]:
M.P. Dash, op.cit., pp.52-53.