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...

Jain Art in Odisha (Introduction)

Indian art epitomizes unity in diversity and that arises from the different periods of history, different religious and aesthetic traditions and geographical locations. Jainism summons the world to a culture of peace, tolerance and understanding. Jain art is an integral part of Indian art and offers beauty and truth in its expedition of universal well-being through ahimsa.

There is a continuity of art in Hindu, Buddhist and Jain architecture and sculpture. The artists and craftsmen producing most of the Jain art were probably not themselves Jaina, but from local workshops patronized by all religions. Therefore, so many of their themes, episodes and ideas manifested in Hindu, Buddhist and Jain art are same. They had good knowledge of iconography and icon making art and could make the Jina icons of different sizes, materials and postures. Thus, Jain art is essentially an Indian art consecrated to the Tirthankaras and commissioned by donors who may be the rulers, high officials or a layman.

Jain art and architecture belonging to different periods in almost all parts of India testifies the widespread prevalence of the Jain tradition throughout the country. The pilgrimage centers associated with the Tirthankaras are great repositories of the glory of Jain art. The contribution of the Jainas has enriched the Indian art and architecture and provided splendid artistic creations, particularly in the forms of images, temples and paintings. They spread all over the country and covering a time span in continuity from the earliest to the modern times.

Some of the seals from Mohenjo-daro and also a male torso from Harappa remind us of the Jina image on account of their nudity and posture, similar to kayotsargamudra, which is exhibited more emphatically in Lohanipur torso, the earliest-known Jina image now preserved in the Patna Museum, Bihar datable to the circa 3rd century BCE[1]. The nudity and the kayotsargamudra suggested rigorous austerity of the image were confined only to the Jinas. The two bronze images of Parsvanatha (circa 2nd century BCE to 1st century CE) are in the collections of the Prince of Wales Museum, Mumbai and Patna Museum[2]. These figures provided respectively with the five and seven-hooded snake canopy are rendered as sky-clad and standing in the kayotsargamudra. A Parsvanatha image seated in dhyanamudra datable to the 1st century BCE is found in the collection of the State Museum, Lucknow. The representation of the Jinas in dhyanamudra and srivatsa, the auspicious symbol in the on their chest appear for the first time in the Sunga-Kushana sculptures of Mathura.[3]

In the Gupta period the Jain cult images were evolved three dimensionally to make more sophisticated and light in modeling. Symbols of asta-pratiharyas are started depicted in the Jain images, the distinguishing cognizance i.e. lanchanas and the Yaksha and Yakshi figures were introduced during this period. But the cognizances were finalized in the 8th -9th centuries CE and the Jain image reached in the final stage of iconographic development in the 9th -10th centuries CE.[4]

The Jain art thrived most vigorously between the 10th -15th centuries CE. This period witnesses building activities of a large number of Jain temples with exquisite sculptural carvings. New forms and iconographic features (excepting that of the Jinas) of various deities were formulated and gradually the number of arms and the attributes were multiplied. The parikara (surrounding) of Jina images also developed with the figural depictions of navagrahas, Sarasvati, Lakshmi and diminutive Jina figures etc.

The temple making art is superb in Jain architecture. One can noticed their architectural marvels by witnessing the grand and decorative temples at Khajuraho, Deogarh, Mt. Abu, Ranakpur etc. and rock cut caves and cave temples in Odisha, Bihar, Andhra Pardesh, Karnatak and Tamilnadu. The temples were made at distinct places some of which had developed as temple cities like Palitana, Kundalpur, Rajgir, etc. and the temple art is still continuing gracefully.

Jain art in Odisha starts with the representation of symbols and narrative panels along with cave architecture in Udayagiri and Khandagiri hills. In course of time with the progress of Jainism, the symbol worship transformed to iconic representation. Regarding the origin of icon worship in the Jain pantheon of Odisha still shrouded with mystery. Because, some scholars opine that the Kalinga Jina brought back by Kharavela was an image of Risabhanatha, the first Tirthankara and others strongly rejecting the theory advocated that it was a symbol of sacred throne. The images were hewn out in the natural stone boulder or in a single dressed stone in a later date. With the advent of metal technology sculptures were also molded in metal. However, Jain images in different modes and mediums have been reported throughout the length and breadth of the state.

The earliest material specimen in form of art and architecture of the Jainas in Odisha are noticed at Udayagiri and Khandagiri hills which can be classified into following heads.

1. Symbols

2. Narrative panels

3. Secular and Religious figurines and motifs

Footnotes and references:

[1]:

U.P. Saha, Studies in Jaina Art, Banaras, 1955, pp.3-4.

[2]:

M.N.P. Tiwary, Ambika in Jaina Art and Literature, New Delhi, 1989, p.3.

[3]:

Ibid.

[4]:

Ibid., p.4.

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