Iconography of Sasanadevis

The images of Sasanadevis are usually found in association with their respective Tirthankaras at the pedestals. The iconography of the Sasanadevis can be best studied in the Barabhuji and Mahavira-Gumpha of Khandagiri hill though they are also found in the Tirthankara images mostly in Koraput, Cuttack and Jajpur areas. Besides, independent images of Ambika, Chakresvari, Rohini, and Padmavati are also found in Odisha.

1. Chakresvari

Independent images of Chakresvari, the Sasanadevi of the first Tirthankara Risabhanatha are noticed at Ada of Balasore district, Subei, Jamunda and Jeypore of Koraput district and Navamuni and Barabhuji-Gumphas of Khandagiri hill in Khordha district^[1]. In addition to her Tirthankara image are found at places like Subei, Kachela, Jeypore (Kali temple), B. Singpur, Charmula, Kotapata, Jamunda and Kamata of Koraput district^[2], Choudwar of Cuttack district etc.

Generally, she is depicted seated either in lalitasana or padmasana posture on Garuda carved below her lotus pedestal. She has been represented with two, four, six, ten, twelve and sixteen arms and all attributes are displayed in each of them. In independent figures, her Tirthankara, Risabhanatha is invariably shown seated in meditative attitude at the top. Apart from Garuda, the traditional mount, we notice a crane (or peacock) and a pitcher in the pedestal of her image in the verandah wall of Barabhuji-Gumpha. The only two armed Chakresvari image is depicted below the Risabhanatha figure of Jamunda in Jeypore branch museum displays varada mudra in both hands. In case of four armed figures Chakresvari holds two discs in the upper two hands and varada mudra in two remaining hands. The four armed figures under the Risabhanatha image bearing of Subei and from the Kali temple represent two discs, vessel and varada mudra in her hands. The only representation of a six armed Chakresvari image below the pedestal of the Risabhanatha is also reported from Subei displays two discs, abhaya, varada, sword and shield in her hands.

The Chakresvari image of Namamuni-Gumpha^[3] is ten armed, six with discs, the seventh hand holding a perforated disc, eighth a shield, ninth a rosary held against her chest in vitarka mudra and the tenth placed on tire lap in dhyanamudra. The twelve armed Chakresvari figure is noticed at the Barabhuji-Gumpha in the series of Sasanadevis. Of her six right hands one is in varada and the rest hold, a thunder bolt (vajra), two discs (chakra), rosary and sword; three of her left hands hold shield, disc and the stalk of flower, the attributes of the three others, one resting on her knee and the second placed on chest, are badly mutilated.

The twelve-armed Chakresvari figure on the left wall of the verandah of Barabhuji-Gumpha^[4] is popularly worshipped as a Barabhuji image of Durga. One of her right hands is in varada, the second holds a sword, the third a disc. Of her left hands one is held against her chest and three carry shield, ghanta (bell) and disc. Attributes in rest of the hands are beyond recognition. All these figures are provided with a garment covering the lower parts of the body. Their other decorative ornaments consist of girdle, bracelets, armlets, necklace upavita (sacred thread), anklets, earrings or studs and head ornaments.

At Bhagavati temple of Jeypore and a temple at Subei, one can notice rare images of the sixteen armed Chakresvari images. The Chakresvari image at Jeypore^[5] is carved seated in dhyanamudra on a double petalled lotus pedestal supported by lions and the asta-pratiharyas are carved around her. A female attendant and Gomukha, the yaksa and her mount Garuda are depicted in the lower parts of the pedestal. Her Jina Risabhanatha in dhyanamudra seated above the Sasanadevi. The attributes in sixteen hands are sword, conical object (?), crescent moon, chakra (disc), samkha (conch), vajra (thunder bolt), japamala (rosary) and varada mudra in the right and the remaining eight of the left hands display conical object (?) shield, gada (mace), chakra (disc), trident, vajra, kalasa (pot) and an indistinct object. The third eye on her forehead is distinctly visible.

The Chakresvari image found at Subei^[6] holds the attributes like mace, sword, trident, disc, bow and pot on right hands and spear, shield, arrow, dagger and a conical object in the left hands while attributes of the remaining hands are damaged and missing. Risabhanatha is shown seated in dhyanamudra on a lotus pedestal on the top of the sasanadevi along with asta-pratiharyas and astagrahas.

One of the best preserved images of Chakresvari (66x28x20cm) in Odisha is noticed at village Ada of Balasore district^[7]. The Sasanadevi is carved along with his Tirthankara i.e. Risabhanatha in a common slab divided into two compartments by a narrow panel. The lower compartment of the stone slab is depicted the twelve armed Chakresvari image, seated in cross-legged over a full blown lotus flower. Her usual lanchana Garuda is depicted at the center of the lotus pedestal as if flying. The Sasanadevi is decked with crown, karna-kundalas, necklace, armlets, bangles and beaded ornaments across the body as like yajnapavita etc. She has a central bun over her head behind which a circular plain halo is marked. The attributes of her right hands from bottom to top are citrus, wheel, wheel, sword, flower (?) and vajra while, the left hands are armed with full-blown lotus, wheel, disc, conch, wheel (?) and vajra. She is flanked by her chauri bearers stands over independent lotus pedestal and flying garland bearers at the top.

The upper compartment of the stone slab is depicted the Risabhanatha seated in yogasana posture over a cot below which his lanchana bull is represented and flanked by crouching lions. The Tirthankara is flanked by chauri bearers in tribhanga posture. An oval halo without any decorations is marked at the back of the Tirthankara and it surmounted by trilinear chhatravali flanked by kevala tree branches. Hovering maladharas and drums played with invisible hands are also depicted at the upper part of the stone slab.

Another fragmented image of Chakresvari is noticed at the near Basulei thakurani, Sitaleswara of Jajpur district.

2. Rohini

Rohini, the Sasanadevi of Ajitanatha is reported from Subei of Koraput district and Barabhuji and Navamuni-Gumphas of Khandagiri hill^[8]. The images of Khandagiri are carved seated in lalitasana pose on plain or lotus pedestals but the Sasanadevi at Subei is seated in padmasana over a lotus pedestal supported by crouching lions. The elephant is the conventional lanchana of her Tirthankara appears below the pedestal in case of Navamuni-Gumpha where as bull is depicted in Barabhuji-Gumpha. The lanchana of the Rohini image of Subei is not clearly visible. Depiction of the third eye is distinctly shown on the forehead of the figure of Navamuni-Gumpha.

The one at Subei and the other on the verandah wall of Baiabhuji-Gumpha depict her Tirthankara Ajitanatha in dhyanamudra on the top of the Sasanadevi. The attributes of the four armed figure of Navamuni-Gumpha are abhayamudra and vajra in the right and a goad and a three-pronged object in the left hands. The twelve armed image found in the verandah wall of Barabhuji-Gumpha carries the attributes like the vara, a banner, goad and disc in right-hands and a samhkha (?) water-pot twig or tridandi and a disc in left and the others are not recognizable. The other twelve-armed Rohini figure found along with the group of Sasanadevis held the attributes in hands are varada mudra, spear or arrow and a sword in right while others are not identified properly and in her left hands hold a noose (?), bow, hala shield, stalk of a lotus and ghanta (?), the last being held against her chest. The third twelve-armed Rohini of Subei is carved seated in padmasana posture. The attributes in her right hands are vajra, sword, disc and arrow and remaining are broken. The left hands are provided with vessel, shield, bell, tridandi and bow and rest are broken.

3. Prajnapti

Only two images have been reported from Navamuni and Barabhuji-Gumphas of Khandagiri hill^[9]. The image in Navamuni-Gumpha is two seated in lalitasana and holds the stalk of a blue lotus in the left and the right hand is in abhayamudra. She is decked with necklace, bangles, anklets and has jatamukuta hair style. In Barabhuji-Gumpha, she is carved as four-armed with the lower right in varada and the upper right holding a rosary. The other attributes in the left hands are damaged and missing.

4. Vajrasrinkhala

Two images of Vajrasrinkhala, the Sasanadevi of the fourth Tirthankara, Abhi-nandananatha are noticed at Navamuni and Barabhuji-Gumphas of Khandagiri hill^[10]. She is seated in lalitasana pose on a plain pedestal, below, which her mark of cognizance also a monkey shown in folded hands contrary to the swan prescribed in the text in Navamuni-Gumpha. In Barabhuji-Gumpha her lanchana is badly disfigured. She carries in her lower left a child, in upper left, a conch and in upper right a chakra, the lower right hand being in abhayamudra. T he other image of Barabhuji-Gumpha is eight-armed with two hands playing on a harp, one of her right hands is in varada mudra. A mong other attributes only vajra in one of her left.

5. Purusadatta

The only representation of Purusadatta, the Sasanadevi of Sumatinatha is found seated in lalitasana pose on a plain pedestal on the left wall of the inner chamber of Barabhuji-Gumpha^[11]. Her mount, crocodile, contrary to elephant is noticed below the pedestal. The attributes in her right hands are varada, a perforated disc, long spear and sword and in her left hands a noose, shield, hala, hammer and blue-lotus are found.

6. Manovega

Manovega has been depicted with her mount swan in Barabhuji-Gumpha of Khandagiri hill only^[12]. She is seated in lalitasana posture on a plain pedestal and provided with an oval halo behind her head. She has four armed and holds the attributes of a conch (?) and banner in left hand and vajra and varada mudra in the right hand.

7. Kali

Kali, the Sasanadevi of Suparsvanatha is only depicted in Barabhuji-Gumpha of Khandagiri hill. She is seated in lalitasana on a plain pedestal and peacock as her lanchana displayed below. She is eight armed and has the attributes of varada mudra, a bowl of fruits, lance (?) and sword in the right and conch, hammer (?) and spear in the left hands.

8. Jvalamalini

A twelve Jvalamalini image is only reported from the Barabhuji-Gumpha of Khandagiri hill. She is found seated in lalitasana on a plain pedestal below which her mount, the lion depicted instead of the conventional lanchana buffalo. Her attributes are varada mudra, dagger, disc, arrow, club (?) and sword in right hands and varada shield, bow, conch, noose and bell in the left hand and the last being held against the chest.

9. Mahakali

Mahakali, seated in lalitasana pose on a pedestal is found in Barabhuji-Gumpha only. Her mount, the bull, contrary to tortoise appears below the pedestal. She is represented with vajra, club, fruit and varada mudra, disc (?), bird, bowl of fruits (?), and disc in the right and a crescent, tarjnimudra, snake, flower (?) and branch of a tree (or feather of peacock) in the left.

10. Manavi

Manavi, the Sasanadevi of Sitalanatha is found carved in lalitasana on a plain pedestal and her lanchana is not clearly recognizable. She is four armed and holds a danda in her lower left hand and the lower right in varada mudra^[13]. The other attributes in the upper hands are not clearly visible.

11. Gauri

Gauri, the Sasanadevi of Sreyansanatha is seated in lilitasana on a plain pedestal in Barabhuji-Gumpha. She is four armed and carries the attributes like water pot and manuscript in the left hands and varada mudra and rosary in the right. Her lanchana is not clearly recognizable here.

12. Gandhari

Gandhari, the Sasanadevi of Vasupujya has are found in Navamuni and Barabhuji-Gumpha of Khandagiri hill. Both are seated in lalitasana on a plain pedestal below which her lanchana, the peacock is depicted. She is four-armed in Navamuni-Gumpha and holds a child, a sakti in her lower and upper left hand respectively whereas abhaya mudra and a mutulunga in the lower and upper hand respectively. In Barabhuji-Gumpha she is carved as eight-armed and holds the attributes of varada mudra, a mutulunga (?), rosary and blue lotus in right hands and a water pot conch, twig (or bunch of flowers), and the stalk of a full-blown lotus in left hands. The lone bronze idol of Gandhari fashioned along with her Yaksha Kumara and Tirthankara Vasupujya is reported from Achutrajpur and now preserved in Odisha State Museum⁸⁹. She is seated in maharajalilasana. She rests right hand on her right knee and the left hand placed on the left thigh.

13. Vairoti

Vairoti, Sasanadevi of Vimalanatha appears only at Barabhuji-Gumpha in lalitasana on a plain pedestal. She is eight armed and her lanchana depicted as a crane. Her attributes in the hands are varada mudra, arrow, sword and parasu in her right hands and vajra, bow, spear and shield in her left hands.

14. Anantamati

Anantamati, the Sasanadevi of Anantanatha is carved in the back wall of Barabhuji-Gumpha. She is seated in lalitasana posture on a plain pedestal below which her lahchana, the horse is depicted. She is a ten-armed and holds the attributes like a staff like object, vajra, stalks of full blown lotus, shield and hammer in the left-hands and the varada mudra, a dagger, spear, sword and the remaining one being damaged in the right hands.

15. Manasi

Manasi, the Sasanadevi of Dharmanatha seated in lalitasana on a plain pedestal in Barabhuji-Gumpha of Khandagiri hill. She is six armed and the attributes are varada mudra, pellet, three pronged object in left hands and bell, banner and conch in the right.

16. Mahamanasi

Mahamanasi^[14], the Sasanadevi of Santinatha is found in Barabhuji-Gumpha of Khandagiri hill as an independent figure where as associated with the Tirthankara her image is reported from Podasingidi of Keonjhar district and Tala Beguniapada of Puri district.

In Barabhuji-Gumpha she is carved seated in padmasana on a double petalled lotus pedestal. Her conventional mark of cognizance, the peacock is not noticed here. She holds stalks of full-blown lotus flowers in her two hands. Two elephants, perched on the lotuses are seen flanking the image at the top in order to pour sacred water from the pitchers held in their trunks. Similar representations are also noticed in the images found at Podasingidi and Tala Beguniapada.

17. Vijaya

Vijaya, the Sasanadevi of Kunthanatha is only found in Barabhuji-Gumpha and she is found seated in lalitasana on a plain pedestal. The lanchana is missing here. She is ten armed and her attributes are varada mudra, a staff like object, goad (ankusa), disc and rosary (?)in the right hand and in the left a three pronged object, perforated disc, conch (?), stalk of full blown lotus and water pot.

18. Tara

Tara, the Sasanadevi of Aranatha is only represented in Barabhuji-Gumpha and she is carved seated in lalitasana. She is shown with varada mudra in the right and the stalk of a full-blown lotus in the left hand. The lanchana seems to be a boar like animal.

19. Aparajita

Aparajita, Sasanadevi of Mallinatha is found seated in lalitasana on a plain pedestal in Barabhuji-Gumpha. Her vehicle, probably a ram is shown below the pedestal. She is eight armed and represented with varada mudra, a long spear, arrow and a sword in the right and a cone-shaped object (conch) bow, shield and banner in the left hand.

20. Bahurupini

Bahurupini, the Sasanadevi of Munisuvrata is only found in Barabhuji-Gumpha. She is carved in a reclining pose on a plain bed (cot) and attended by three other figures, one of which shown fanning her. Below her bed is placed a water pot. The left hand of her is traced below the head while the right one is kept over her body^[15].

21. Chamunda

Chamunda, Sasanadevi of Naminatha, is depicted with multiple heads in Barabhuji-Gumpha. She is seated in lalitasana on a plain pedestal below which her mount the swan is shown. She is four armed and represented with varada mudra and rosary in the right and water-pot and trident in the left.

22. Ambika (Amra)

Among Sasanadevis, image of Amra or Ambika, the Yakshi of Neminatha is the most popular in Odisha. She is found depicted as independent figure as well as associated with Yaksha Gomedha and her Tirthankara Neminatha in a common slab. Independent figure of Ambika with a miniature Tirthankara image at the top is reported from Ada and Balighat of Balasore district; Kartara and Naguan of Jajpur district; Kuanrpur of Kendrapara district; Anandpur, Bancho and Podasingidi of Keonjhar district; Brahmesvarapatina and Khandagiri hill of Khordha district; Kachela, B.Singhpur, Purunagarh and Subei of Koraput district and Osian, Jiolo and Barala of Puri district. On the other hand along with Gomedha is found in the places like Kushun Nagar of Bhadrak district; Ayodhya of Balasore district; Choudwar, Lataharana and Pratapanagari of Cuttack district; Baruadi, Sitaleswara and Chandigola of Jajpur district; Podasingidi of Keonjhar district; Khandagiri hill of Khordha district; B.Singhpur of Koraput and Baripada Museum of Mayurbhanj district. Besides, bronze images of Ambika are also reported from Choudwar and Achutrajpur of Cuttack and Puri district respectively.

She is shown in lalitasana invariably in all independent seated figures or with the Yaksha Gomedha but displays tribhanga posture in the standing ones. The pedestal on which she is seated or standing is either on a plain or lotus pedestals and her lanchana lion is usually placed below the pedestal. The mango tree, the other conventional feature of this Sasanadevi is shown in the background in all cases. Her Tirthankara is placed over this tree in dhyanamudra in few cases along with his lanchana as a wheel instead of his usual conventional cognizance conch. The Tirthankara figures on the top are depicted with the mark of cognizance, chauri bearers, flying garland bearers, halo and the kevala tree. In case of the entire independent figure, she is shown with a child in her left lap and bunch of mango or a mango twig in the right hand. Her second son is depicted near her right hand.

On the composite figure Ambika shows carrying a baby in the left lap and in right hand always rests over the lotus pedestal. She is decked with ornaments like girdle, necklace, anklets, bangles, armlets, sacred thread and head ornaments in addition to the under garment and scarf. The Yaksha Gomedha is carved seated in maharajalilasana right to the Yakshi and hold a twig. In some cases both are also carried twig in their respective right hands. A child is shown playing in a swing at the tree carved at the back ground of the images. Above these depictions, the Tirthankara is shown in dhyanamudra along with all the asta-pratiharyas. Usually seven numbers of female figures in maharajalilasana holding a twig in their respective right hand are represented at the base of the lotus pedestal of the Yaksha and Yakshi.

The four armed image of Badasai^[16] has the attributes of varada mudra, bunch of mangoes or its twig and one kept on the thigh. Similarly the other four armed figure of Barudi is found displaying a bunch of mangoes, varada mudra and conical objects. The Ambika image found in the Bhagavati temple at Jiolo Sasana has a unique feature is that like Mahamanasi, the sixteenth Sasanadevi, elephants are pouring water by pitcher over the Sasanadevi with their trunks. Similarly, a two armed image of Ganesa is found depicted in the Ambika image of Osian near Kakatpur of Puri district which is a very rare in Odishan Jain art and iconography.

23. Padmavati

Padmavati, the Sasanadevi of Parsvanatha are noticed in the Navamuni and Barabhuji-Gumpha of Khandagiri hill, at Nandapur in Koraput district and at Naguan of Jajpur district. Her iconography is very similar to Manasa and Padmavati of Brahmanical pantheon^[17]. Except Naguan all the images are carved seated in lalitasana posture on double petalled lotus pedestal. Below the pedestal her lanchana elephant is depicted as noticed in case of Nandapur and lotus in Navamuni-Gumpha and Naguan. A canopy of five hooded snake appears over head of the figures of Barabhuji-Gumpha and Nandapur where as we found a seven hooded snake canopy in the image of Naguan. A votive figure of Parsvanatha having canopy of a seven hooded snake flanked by chauri bearers and garland bearers is found depicted on the top of Sasanadevi Padmavati at Nandapur. The third-eye on the forehead is noticed with the figure of Navamuni-Gumpha where as in Naguan the forehead is marked with a full blown lotus flower.

The image in Navamuni-Gumpha is two armed and are shown with abhaya mudra in the right and lotus in the left hand. The four armed figure of Nandapur represents a twig, varada mudra and parasu in three hands while the fourth one is damaged. The Sasanadevi at Barabhuji-Gumpha is eight armed which display varada mudra, arrow, sword and disc (?) in the right and bow, shield, stalks of lotuses in the left hands. The Sasanadevi image at Naguan is worshiped as Brahmanidevi. She is two armed and holds a full blown lotus in the left hand and varada in the right hand. Two female nagi attendants are also shown flanked by the Sasanadevi. Similar two more images are found seated in dhyanamudra at Kenduli. They have seven hooded snake canopy and holds full blown lotus in the left hand and a twig in the right hand. The identification is still varied from scholar to scholar. Some identified them as Brahmanical deities while other as Ambika. But their iconographical features are more akin to the Padmavati image of Naguan and hence can be identified as Padmavati.

24. Siddhayika

Siddhayika, the Sasanadevi of Mahavira is carved seated in lalitasana posture on a plain pedestal in the Barabhuji-Gumpha of Khandagiri hill is the only image found in Odisha^[18]. Her mount is the elephant and the attributes in respective twenty hands are varada mudra, spear, rosary, arrow, small staff (?) hammer, hala, vajra, disc and sword in the right hands and a water pot, book, matulunga (?) lotus, bell (?), bow, nagapasa and shield are the attributes in her left hands while others are not recognizable.

In brief it can be concluded that the asta-pratiharyas of the Jainas are commonly appeared in the all the sculptures of Odisha. In addition to it lotus and champaka marks, representation of moon and sun, pitchers, fishes, mirrors offerings, anjalimudra, varadamudra naga figures, astagrahas, miniature Tirthankara figures alongside the mulanayaka and figures of Yaksha and Yakshi associated with the Tirthankara images. The prabhavali is more elaborate in the later period. Srivatsa mark on the chest and dharmachakra symbol below pedestal are very rarely found. The Tirthankaras are found naked but their subsidiary divinities are decked with extremely varied costumes and ornaments. A matted lock of falling hair is a common feature in the image of Risabhanatha. The Sasanadevis are carved independently as well as associated with Yaksha and Tirthankara in a common slab. The twenty four Tirthankaras and their respective Sasanadevi in a series as independent figures can only be traced at Khandagiri. In case of Sasanadevi, their attributes and marks of cognizance usually differ from the general accepted feature according to Jain traditions.

Representation of third-eye, a typical feature very rarely found elsewhere but noticed on the foreheads of some Chakresvari and Rohini figures of Khandagiri. Ambika become the most popular Sasandevi in Odisha as evidenced by their findings.

Miniature figures of ganadharas and purvadharas depicted along with the image of Adinatha in a single stone slab are noticed in the Jain temple at Cuttack, at Siva temple of village Panchagaon, Mangala temple of Kuansa and Gramadevati shrine at Naguan of Jajpur district. Two more such stone tablets are also noticed at Tarangasagarpur and Sitaleswar of Jajpur. In all such cases the figures of ganadharas and purvadharas are carved standing in kayotsarga posture while the Tirthankara Risabhanatha at the top of the slab seated in yogasana pose.

The Jain quadruple is known as “chaumukha” or “sarvatobhadra pratima”, i.e., auspicious from all sides. It represents the figure of a Tirthankara on each of the four sides and sometimes represented only in one sides. In all such cases standing Tirthankaras with their respective lanchanas are represented and images of Risabhanatha, Ajitanatha, Santinatha, Parsvanatha, Chandraprabha and Mahavira are six most popular Tirthankara invariably represented in them.

Footnotes and references:

[1]:

Ibid., pp.223-225.

[2]:

Ibid.

[3]:

R.P. Mohapatra, 1981, op.cit., pp.182-183.

[4]:

Ibid.

[5]:

B.K. Ratha, “The Unique image of Chakresvari,” OHRJ, Vol.XXIII, No.1-4, pp.127-130.

[6]:

Ibid.

[7]:

B. Tripathy, “Jaina antiquities found at Ada”, in H.C. Panda (ed.), Proceedings of Orissa History Congress, XIX Annual Session, Bhubaneswar,1994,pp.30-35

[8]:

R.P. Mohapatra, 1984, op.cit., pp.225-226.

[9]:

Ibid., pp.226-227.

[10]:

Ibid., p.227.

[11]:

Ibid.

[12]:

Ibid., p.228.

[13]:

Ibid.

[14]:

R.P. Mohapatra, 1984, op.cit., p.231.

[15]:

Ibid. p.232.

[16]:

Ibid. 233.

[17]:

K.S. Behera, op.cit., p.52.

[18]:

R.P. Mohapatra, 1984, op.cit., p.236.