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...
Ramachandi Temple (Keonjhar)
The recently built pidha structure fronted by a RCC pillared mandapa houses the presiding deity of Ambika which is worshipped as Chandi. Besides, an image of four armed Mahisasuramardini Durga, two more Ambika images one with her yaksha Gomedha, an image of Risabhanatha and two other Tirthankara images whose identification is not clear are also worshipped here. The images are defaced with the application of chua and vermillion by the priests.
Ambika:
The image of Ambika as presiding deity is the largest of its kind here. The Sasanadevis carved seated in lailitasana over a lotus pedestal underneath a mango tree. Her lanchana lion is carved below the pedestal. She holds a baby in her left lap while right hand displays in varada mudra. The chauri bearers are depicted on either side of the deity. Neminatha is depicted over her head in separate segment where he is depicted as seated in dhyanamudra and his cognizance wheel is also seen below his pedestal. He is flanked by chauri-bearers on either side. Cymbals and drums played with divine hands are represented on the top corner of the stone slab.
The second figure almost similar in representation as the first one but has few exceptions such as smaller in dimension, holding a mango twig in her right hand instead of varada mudra and has flying garland bearers at top along with cymbal and drum. The most notable feature of the image is the depiction of pillared torana with three receding pidhas at top behind the deity over which the Tirthankara seated in dhyanamudra.
Ambika and Gomedha:
Ambika along with her Yaksha Gomedha are seated over a common pedestal in lalitasana. Ambika carries a baby in her left hand while right hand rest over her thigh. In the other part right hand of the Gomedha in varada mudra and his right hand rest over his thigh. Below their pedestal seven female figures found seated in rajalilasana is a common feature in the image of Ambika and Gomedha in Odisha. The tree below which both the figures are seated also depicted a boy is playing in a jhula and just over the trees. Neminatha is carved seated in dhyanamudra over a lotus pedestal. He is flanked by chauri bearers and surrounded by flying gandharvas and divine musical instruments.
Besides, three more Jaina Tirthankara images carved out of sandstone are also placed here. But they are defaced to a great extent and beyond description but one of them appear to be Risabhanatha as he has jatamukuta in his head, a peculiar feature of Risabhanatha images in Odisha. All are standing images i.e. in kayotsarga posture along with chauri bearers, garland bearers etc.
Risabhanatha:
Out of two Risabhanatha images (80x34cm) one sanding and the other in seated posture were brought from Podasingidi to the Odisha State Museum. The most notable image of Risabhanatha[1] is in meditation posture (yogasana). The image carved out of a solid piece of chlorite stone. On the pedestal are two lotus flowers on either side of a standing bull worshipped by devotees with folded hands. The image has an oval halo with two flying gandharvas on either side with garlands in their hands. The image has an inscription engraved on the right side of it. It is in Sanskrit language and in kutila script datable to the 8th century CE. It consists of 15 letters in four lines read as “Ehasya pratibimbi Risabha Bhattaraka” meaning there by the statue of Risabha Bhattaraka. Paleographically, this image is assignable to the circa 8th century CE.[2] With the passage of time these letters have become invisible. The stone on which the figure is composed provides an impression of transparent upper garments. Hair of the Tirthankaras is generally fashioned into the rolls of jata. But in this case they are designed in curled knots. The composition of curled hair with long ears and half-closed eyes presents a beautiful meditative facial expression.
The second image of Risabhanatha[3] which has been collected from the same place i.e. Adi-jina stands in kayotsarga posture on a double petalled lotus pedestal supported by spirited lions. Representations of chauri-bearers, bull, kevala tree, trilinear umbrella, flying gandharvas are carved in the usual place. On stylistic ground this image is assignable to the 9th century CE.
Footnotes and references:
[2]:
Ibid.
[3]:
J. Rath, op.cit., pp.66-69.