Jaina Sculptures at Achutrajpur

The digging of foundation for the Godavarisha Vidyapitha in 1963 revealed a hoard of Buddhist and Jaina sculptures which include bronze as well as stone idols. It includes ten bronze images of Tirthankaras and Sasanadevi and one small chlorite image of Rishabanatha^[1]. The images can be assignable to a period between 8^th and 11^th centuries CE. The bronze images are now preserved in the Odisha State Museum^[2] while the lone image of Risabhanatha is attached in the wall of Dakshya-Prajapati temple of Banapur. The bronze idols are discussed below:

Risabhanatha:

He is carved seated in yogasana over a lotus pedestal. His lanchana bull is carved at the pedestal. His usual hairstyle jatamukuta, an oval halo and chhatravali with gradual diminishing chhatras capped by a conical finial are also noticed.

Chandraprabha:

He carved in yogamudra over a lotus pedestal and a crescent moon as his lanchana depicted at the central part of the pedestal at the front. His hair gathered on the crown in a conical form. The oval halo behind his head is engraved by a beaded boarder edged by tongues of flames at long intervals.

Chandraprabha:

The Tirthankara stands in kayotsarga posture over a lotus seat and that is kept over a hollow square base pedestal. His cognizance the crescent moon is depicted on the front side of the pedestal within a full blown lotus flower.

Vasupujya:

He depicted along with a yakshya and yakshi over an oblong hallow pedestal with a khura shaped moulding at the base. The base part is carved with seven devotees in yogasana posture. The yaksha and yakshi are shown in maharajlilasana while above them the Tirthankara is seen in dhyanamudra. The animal below the legs of Tirthankara appears to be a buffalo. Both the yaksha and yakshi are decked with rich ornaments viz., girdle, anklets, bangles, armlets, ear-studs and crowns etc. at the backdrop of them a child seems to have been swinging. A beaded arch edged by leaf shaped flames or branches capped by a small finial at the backside of the deities are also noticed. Two other images also found in this hoard are appeared to be the icons of Budhha in dhyanamudra.

Ambika:

She is carved in lalitasana over a lotus pedestal and her lanchana lion is carved at the central part of the pedestal on the front. She is elegantly decked with anklets, bracelets, bangles, necklaces, ear-studs and a crown. She carries a baby in her left lap and a bunch of mangoes in the right hand. Her second son is depicted at the right to her holding a mango in his hand. Mango twigs laden with fruits are also depicted behind the Sasanadevi. The oval halo behind her head is decorated with a beaded boarder edged by leaf shaped flames. Diminishing chhatra with conical top is also noticed behind her head.

Ambika with Neminatha:

Bearing almost an analogous treatment in depiction as discussed above, the Sasanadevi seated over a lotus supported by a khura base pedestal. Her Tirthankara is shown above the tree studded with mangoes in dhyana mudra. The halos of both the figures are separated but having similar representation i.e. oval halo with tongues of flames at the edge.

Ambika with Neminatha:

The Sasanadevi is carved seated in lalitasana on a lotus placed over a footed oblong pedestal with a molded base and a high recessed middle part. Her cognizance, lion is carved at the recessed portion of front part of pedestal. She holds a child in the left lap and a mango in the right hand. His second son is depicted in maharajalilasana at her right. The Tirthankara is depicted above the Sasanadevi in dhyanamudra posture. They have a common halo representing the shape of trefoil at the upper part.

Ambika with Neminatha:

She is carved in maharajalilasana posture over a lotus pedestal and her lanchana lion carved at the central part of the pedestal on the front. She is elegantly bedecked with various ornaments. She carries a baby in her left lap and a bunch of mangoes in the right hand. Her second son is depicted right to her and holds a mango in his hand. Mango twigs laden with fruits are also depicted behind the Sasanadevi. Except for the rod like outline of two mouldings the halo is open. The seated figure of Neminatha is depicted within the stylized chhatravali.

Footnotes and references:

[1]:

R.P. Mohapatra, op.cit., 1984, p.79.

[2]:

D. Mitra, op.cit., 1978, pp.44-52.