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 Shergarh (Balasore)

Biswanatha Temple:

It is located at a distance of 2km west of Phandi chowk of Balasore, from the National Highway No.5. The Biswanatha temple complex (Pl.IXA) has four temples of Gaudiya style and miniature pidha style structure of later construction. These temples house images of various cult affiliations of Jaina, Buddhist and Brahmanical deities. These include Asta-Mahabhaya Tara, Trivikrama, headless image of Risabhanatha, Visnu, Astika-jaratkaru, Ganesa, two female deities now under the care and maintenance of Shesadhara Senapati, the former zamindar of Shergarh.

The first Tirthankara Risabhanatha (25x22x05cm) is carved seated in dhyanamudra over a lotus pedestal whose head is missing (Pl.IXB). His lanchana bull and a kneeling devotee with folded hand are noticed below his pedestal. The image is completely defaced with vagaries of nature.

Gada Chandi Temple:

It is located in Khajura sahi, Shergarh, at a distance of 3km west of Phandi chowk from the National Highway No.5. It is a modern Reinforced Cement Concrete (RCC) built living temple (Pl.IXC) with the presiding deity worshipped as Gada Chandi, which is originally an image of Parsvanatha (Pl.XA) (1.12x0.58x0.20m). Besides, images of Visnu, Risabhanatha and Mahishasuramardini Durga are also kept inside the temple. Paradoxically, this Jaina image is worshipped as a female divinity of the Shergarh fort. The Parsvanatha image can be compared to the Parsvanatha image of Tentulidiha image of Jajpur. He is carved seated in dhyanamudra over a lotus pedestal. A seven hooded snake canopy is marked over his head. The representation of Kamth’s attack is very narrative and similar that of Tentulidiha of Jajpur. Another small image of Risabhanatha (18x11x04cm) attached on the wall of the temple is very badly defaced. Oil and vermilion are applied over the image regularly which conceals the attributes of the images (Pl.XB).

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