Jaina Antiquities in Prachi Valley (Cuttack)

The River Prachi, a distributary of the Mahanadi System, always held in high esteem by the people of Odisha. It once cradled a civilization which is so rich and varied in character that its glory can hardly be explained. It is considered as the holiest river of Odisha and rightly called the eastern Saraswati^[1]. In its valley, there is everything that makes the history of Odisha most outstanding and glorious. The basic tenet of Jainism which resolves round the theory of ahimsa or non-violence, together with other religious cult and their iconographical, cultural traditions made impact on the valley from the very period of their inception.

Jainism, which once was the state religion of Kalinga^[2], flourished in the Prachi river valley as a pioneer centre. A systematic exploration work conducted in the Prachi valley, reveals that Jainism flourished along with Buddhism, Saivism, Saktism and Vaishnavism. A number of Jaina images are lying scattered in various parts of the Prachi valley and many of them are now worshipped in the form of Brahmanical deities. An extensive survey of the valley reveals many Jaina sculptures in the modern temples or shrines. Some of them come under Puri district as the river confluence at sea in Puri district. Thus, without demarcating the geographical area of them on the basis of administrative unit, Jaina sculptures on the valley are discussed here to highlights spread of Jainism in the Prachi valley or to know the contribution of Prachi valley for the expand of Jainism in Odisha

Risabhanatha image, Swapnesvar Temple, Adaspur

A beautiful image of Risabhanatha (50 x25x05cm), chiseled out of black chlorite schist is noticed on the right side wall of the Swapnesvar temple^[3] of Adaspur (Pl.XXVIIA). He is depicted as mulanayaka, being surrounded by twenty four Tirthankaras, twelve on each side standing nude in kayotsarga posture with solemn and sublime grandeur. He is bestowed with divine grace with all anatomical perfections. His long arms fall with easy elegance on the sides touching both the knees with the middle fingers. Although in complete nudity he wears a bejeweled tier conical in shape and a pair of dangling warring adorns his elongated ears. The lotus-petalled aura round his head lends a divine dignity to the expression of his face which with half closed eyes shows absorption in meditation. The trilinear umbrella is seen above his head and the elliptical aura and the branches of the Nyagrodha, his kevala tree are placed above the umbrella. Flying garland bearers are noticed just above the prabhamandala. His lanchana, the bull is depicted at the middle of the lotus pedestal supported by spirited lions. Two female devotees on anjali hasta are seen on both sides of the bull. Just above the lion throne, there are three lotus pedestals and the central one canopied by the mulanayaka whereas, the side one are by fly-whisk bearer. It is considered as one of the perfect representations of Risabhanatha depicting most of his divine symbols.

Tirthankara image at Nilakanthesvara Temple, Adaspur

Another Tirthankara image (40x26x12cm) is noticed at the sanctum of the Nilakanthesvara temple (Pl.XXVIIB) at Adasapur^[4]. The image is severely damaged below waist and the portion below feet is completely missing. Thus, it is very difficult to identify the particular Tirthankara image without the depiction of lanchana. The Tirthankara stands in kayotsarga posture as like the Risabhanatha image found in Swapnesvara temple. But, here the Tirthankara is flanked by astagrahas instead of twenty four Tirthankaras. The depiction of lotus flower, champaka flower in between the Tirthankara and grahas and the depiction of makara-torana behind his halo are new features. A single chhatra is seen above his head and the aura is stylised in three bands of scroll work and is oblong in shape. Of the two chauri bearers, the one on the right is missing. Devine musicians are noticed at the top of the slab on either side.

Sola-Pua-Maa Temple, Anla

Carved out of a finely chiseled chlorite stone, the image Risabhanatha (52x28x11cm) is presently worshipped as one of the son of Goddess Durga at Anla in Sola-Pua-Maa temple^[5]. The image is quite akin to the Nilakanthesvara temple Jaina image in respect to the representation of grahas. The Tirthankara (Pl.XXVIIC) which stands in nude with kayotsarga posture is flanked by astagrahas, four on each side. Rahu, the last graha of the series is represented as a bodiless human head with protruding eyes and grinning teeth. The Tirthankara has a beautiful circular halo behind his head and a chatra over it. Right at the back of the Tirthankara image, a makara-torana is also noticed. Devine garland bearers and drums played with invisible hands are also depicted at the top portion of the stone slab. The fly-whisk bearers are standing in katyabalambita mudra on both sides of the Tirthankara image. Below the lotus pedestal of the Tirthankara and chauri bearers, the lanchana bull and female devotees are depicted.

Barunei Gramadevati Shrine, Kenduli

The Barunei Gramadevati shrine is a small square platform in the outskirt of village Kenduli preserves a number of images of different faith such as image of Avalokiteswar, Hanuman, Mahisasuramardini Durga, image of Tirthankara (Pl.XXVIID) and a number of broken sculptural pieces. The Tirthankara image measures 32x18x09cm and made of sandstone. The Tirthankara stands elegantly in kayotsarga posture and flanked by a chauri bearer on the either side at the bottom. He has a five tiered chhatravali over his head and an oval shaped prabhamandala at the back. Drums played by invisible hands and flying vidyadharas are depicted on either side of the Tirthankara at the top. The portion below the feet of the Tirthankara is badly damaged hence; it is difficult to identify the further features.

Janjesvari Temple, Kenduli

The two female deity kept in the Janjesvari temple of Kenduli are traditionally worshipped as Amba (1.08x0.58x0.28m) and Ambalika (1.06x0.54x0.18m)^[6]. Both the figures are carved out of black chlorite schist and seated over double petalled lotus pedestal. At the lower part of the pedestal a series of female devotees with folded hands amidst heaps of offering are noticed. Both the deities are holding long-stemmed flower in each hand. Particularly noteworthy are their elaborate coiffure studded with jewels, waist bands, anklets, ear-rings and very delicately carved upavitas. Both the figures have canopy of seven hooded snake and above which flaring garla nd bearers are noticed on either side. Stylistically, they have close resemblance with the image of Ambika of Jaina pantheon except the serpent hood (Pls.XXVIIIA-XXVIIIC).

Rushi Thakurani Shrine, Mahatabpari

Two broken pieces of sculpture affinity to Jaina religion are found here (Pls.XXVIIID-XXIXB), worshipped as Rushi Thakurani^[7]. One is identified as lower part of Risabhanatha (22x16x08cm) as evidenced by his lanchana bull below his lotus seat. A female devotee is also seen with anjali hasata below the lotus seat. Above the visvapadma Risabhanatha is seated in dhyanamudra as depicted on broken sandstone piece. The other sculpture is identified as a broken piece of Ambika (20 x12x08cm) with Yaksha Gomedha as the Yakshi is seen in ardhaparyankasana and holding a bunch of corn in his right hand. He is decked with a yajnopovita at the chest, circular kundala at the ear and a conical bejeweled crown at the top. A branch of leaves also notice flanked over his head. It can be compared with the Ambika image of Lataharana and made out of chlorite stone.

Gramesvar Temple, Nibarana

The finest specimen of Jaina sculpture ever noticed in Prachi valley is one which is kept on the jagamohana of Gramesvara temple at Nibarana^[8] (Pls.XXIXC-XXXA). It is made out of black chlorite and worshipped as Kandapa/Kamadeva by devotees. The Jaina divinity Risabhanatha (98 x50x28cm) is distinguished from his conventional lanchana bull. The pedestal of the image is supported by two spirited lions at the corner and below which a panel shows several devotees, male and female in kneeling posture with folded hands and a heaps of offering in front. The Tirthankara is seated in yogasana pose over the double petalled lotus pedestal. He has a jatamukuta hair cap and few strands of which are fallen on the shoulder, a basic feature of Risabhanatha image in Odishan art. The most outstanding feature of the image is the depiction of the trefoil torana behind his head, finely carved with beaded boarder. The trilinear umbrella is surmounted by kevala tree, flying vidyadharas showering flowers and garlands, cymbals and drums played by invisible heavenly figures.

Gramesvara Temple, Lataharana

A stone slab depicting Yaksha Gomedha and Ambika (43 x23x06cm) is found in a small shed in the compound of Gramesvar temple (Pl.XXXB) at Lataharana^[9]. Images of Yaksha associated with their consort are often found in various places of India and the most remarkable of them have been preserved at present in the museum of Mathura, Deogarh fort (Jhansi) and Gwalior^[10]. The similar image at Lataharana is carved out of black chlorite schist. Both Gomedha and Ambika are seated in ardhaparyankasana on their respective visvapadma below which a series of seven devotees also depicted in ardhaparyankasana. Both of them hold a bunch of mangoes/ branch of a tree in their respective right hands and left hands rest over their left thigh. They are decked with yajnopovitas, valayas, haras and karna-kundalas. The Yaksha has a conical head dress while the Yakshi has a round, side bun hair style. A tree is depicted at the background on which a baby is found swinging in playful mood. At the top, the 23^rd Tirthankara Neminatha is found seated in ardhaparyankasana over a lotus pedestal and flanked by chauri bearers on either side.

Bhagavati Temple, Jiolo

A unique image of Ambika is worshipped as Bhagavati/Gajalakshmi by villagers at the Bhagavati temple (Pls.XXXC-XXXIC) at Jiolo^[11]. The image is quite akin to the Brahmanical goddess Gajalakshmi except few features. The deity is standing over a double petalled lotus pedestal in tribhanga posture holding a child on the left lap and finger of the other child on the right hand, who is standing on the dexter side of the deity at the bottom. She is bejeweled with bangles, armlets, haras and karna-kundalas. A pair of elephants is showering water over the head of the deity. Above it, branches of tree laden with fruit is flanked on either side and above which a diminutive Tirthankara image is found in vajraparyankasana. The deity is flanked by eight female figures, four on each side with different posture such as dancing, playing drums and cymbals etc. Flying vidyadharas and drums are seen at the top on both side of the image and chauri bearers at the bottom. Below the pedestal kneeling devotees in anjalihasta are also noticed.

Bageswari Temple, Pindola

The recently constructed shrine Bageswari is located on the left bank of Prachi and about 5km from Nayahat in Desthali panchayat. The shrine preserves a small Tirthankara image (20x10x05cm) carved out of black chlorite schist^[12]. The Tirthankara (Pl.XXXID) stands in kayotsarga posture with middle fingure touches their respective thigh. Two fly-whisk bearers are noticed on either side of the image. The portion above the head of the Tirthankara and the pedestal over which he stands completely defaced.

Ambikei Shrine, Puruna Osian

The Ambikei shrine at Puruna Osian in the Naiguan panchayat preserves three beautiful images of Ambika (Pls.XXXIIA-XXXIIIC). Local people of the area have been worshipping them as goddess Parvati. The presiding deity is a life size figure of Ambika (1.5x0.60x0.24m) and carved out of chlorite stone, probably the largest one so far has been noticed in Odisha of this kind. She is standing over a lotus pedestal in dvibhanga posture. She holds a bunch of mangoes in her right hand which plucked by a child in his left hand, while her left hand holds the finger of another child. She is bejeweled with valayas, keuras, chhannavira type of haras and large puspa kundalas.

Her hair is arranged in jatamukuta style and a narrow beaded crown is noticed at her fore head. Two female chauri bearers are noticed on both sides of the deity. The most interesting feature of the image is the depiction of two armed Ganesa on the dexter side of the image at the top and a two armed bore faced female figure at the sinister above which flying garland bearer are noticed. Above the large oval halo, one can notice branches laded with mangoes and flanked by a bird on either side. A lion is considered as her conventional lanchana is peeping out behind his leg at dexter side of her leg.

Besides the main deity, there are two small Ambika images, seated in lalitasana with right leg pendant also kept here. Both have iconographically close resemblance with each other. They are seated over a beaded pedestal below which a squatting lion is noticed and bedecked with waist bands, channavira type hara and armlet and ear rings. They hold a baby in their left lap while another child is seated on the dexter side of the image. Both hands of the deity are partially missing.

Sobhanesvar Temple, Niali

The Sobhanesvar temple is a Ganga monument in the Prachi valley having a rekha vimana, pidha Jagamohana and a detached pillared mandapa. The temple is saptaratha on plan and panchanga bada in elevation. The talajangha portion of the vimana particularly in the khakara mundi design six diminutive (12x5x1.5cm) Jaina Tirthankara images are noticed (Pls.XXXIVA-XXXIVC).

Durga Shrine, Gada Itapokhari

One sandstone image of Risabhanatha was found while digging the Kundei canal near Gada Itapokhari^[13]. It is now kept inside the Durga shrine of this Village. The Tirthankara is seated in vajraparyankasana over a double petalled lotus pedestal. His usual lanchana bull is represented at the pedestal. The most outstanding feature of this image is that the deity is seated within the womb of a chaitya.

Besides these images, a good number of Jaina sculptures have been reported from Viswamitra Matha of Kaktapur^[14], Agnitirtha Matha, Jiunti, Nijigarha Tailipur, Muruda, Matigadia^[15] etc. but unfortunately most of the sites do not have the images at present. They are now either missing or theft.

A good number of Jaina sculptures in the valley prove that Prachi valley is an important Jaina center of Odisha. Few sculptures of them contain astagrahas which show they are of earlier date, probably to the circa 9^th century CE because the concept of navagraha was introduced in Odishan temple art during middle of the 9^th century CE as noticed at Mukteswara temple^[16]. The latest time frame of Jaina sculptures of the valley can safely be dated back to the 13^th century CE. Jaina sculptures found in the Sobhanesvar temple are dated contemporary to Megheswara temple of Bhubaneswar which correspond to the last quarter of the 13^th century CE^[17] and the Risabhanatha image found at Nibarana also iconographically dated back to the Ganga period. So it is clear that the Jaina sculptures of the valley fall under a broad time frame i.e., between the 8^th /9^th century CE to the 13^th century CE. It is noteworthy to mention some important aspects of the Jaina sculptures in the valley. Next to Mukteswara temple^[18], Sobhanesvara temple at the valley depict Jaina Tirthankara image in temple art. Brahmanical gods and goddess are accepted by Jains as an image of Ganesa is found on the Ambika image of Puruna Osian as tutelary deity, The Ambika image of Jiolo Sasana is also carved with a fashion of Gajalakshmi concept of Brahmanical deity. The Jaina sculptures of Prachi valley mostly include images of Risabhanatha and Ambika. In spite of profuse images there is no evidence of any Jaina shrine in the valley. After a thorough study of the iconographical features of the sculptures, it reveals that except the image found at Nilakanthesvara temple at Adaspur and Tirthankara image of Barunei Shrine, all the images are of Svetambara Sect as they decked with bejewelled crown, valayas, keuras, karna-kundalas and sometimes with transparent clothes. Hence, it can be assumed that Prachi valley was an important strong hold of svetambara sect of Jainism in Odisha.

Footnotes and references:

[1]:

K.S. Behera and U.N. Dhal (ed.), The Prachi Mhatmya, Bhadrak, p.1.

[2]:

J. Patnaik, “Jainism in Orissa”, in M.N. Das (ed.), Sidelights on History and Culture of Orissa, Bhubaneswar, 1977, pp. 307-317.

[3]:

P.K. Ray (ed.), Archaeological Survey Report: Prachi Valley, Bhubaneswar, 1974-75, pp. 53-54.

[4]:

R.P. Mohapatra, op.cit., 1984, pp. 94-95.

[5]:

S.S. Tripathy, Buddhism and other Religious Cults of South-East India, Delhi, 1988, pp. 133-134.

[6]:

R.P. Mohapatra, op.cit., 1986, pp. 126-127.

[7]:

S.S. Tripathy, op.cit., p.138.

[8]:

R.P. Mohapatra, op.cit, 1984, pp.72-73.

[9]:

Ibid., p.72

[10]:

S.S. Tripathy, op.cit., p.137.

[11]:

Ibid., pp.136-137.

[12]:

Ibid., p.130.

[13]:

Ibid., p.134.

[14]:

R.P. Mohapatra, op.cit., 1984, p.72.

[15]:

S.S. Tripathy, op.cit, pp.125-142.

[16]:

A.N. Parida, op.cit., p. 50.

[17]:

K.S. Behera, Temples of Orissa, Bhubaneswar, 1993, pp. 60-63.

[18]:

K.C. Panigrahi, Archaeological Remains at Bhubaneswar, Calcutta, 1981, p.93.