America Sangrahalayo Evam Niji Sangraho Me Jain Pratimaye - Book Summary

Here is a comprehensive summary of the Jain text "America Sangrahalayo evam Niji Sangraho me Jain Pratimaye" by Brajendranath Sharma, based on the provided pages:

This article, authored by Dr. Brajendranath Sharma, discusses the presence and significance of Jain sculptures found in museums and private collections in America. The author notes that following the impactful exhibition of Indian art by Dr. Anand Coomaraswamy about 50 years prior, there was a surge of interest in acquiring Indian artifacts in Europe and America, leading to the establishment of dedicated Indian sections in many museums. These sections house a variety of Indian art forms, including stone, bronze, terracotta, wood, and ivory sculptures, as well as miniature paintings. Sharma highlights that alongside deities of other religions, American museums also contain sculptures of Jain Tirthankaras and Yakshas/Yakshinis, which are valuable for scholars of Jainism and art.

The article then proceeds to describe specific significant Jain sculptures housed in American institutions and private collections:

Nasli Hiramanek Collection: This collection, belonging to a Bombay resident who settled in America, features three Jain sculptures. The most important is a 9th-century CE metal sculpture of the 23rd Tirthankara, Lord Parshvanatha. It bears resemblance to contemporary sculptures from Akota, Gujarat. Parshvanatha is depicted in meditation on a beautiful throne, with only three of the seven serpent hoods remaining above his head, protecting him. The Shrivatsa symbol is visible on his chest. Flanking him are likely sculptures of Mahavira and Adinatha in the Kayotsarga (standing) posture under umbrellas, each with a radiant halo. To the right of the throne is Yaksha Sarvanubhuti on an elephant, and to the left is Yakshini Ambika, holding a mango bunch in her right hand and a child in her lap with her left. The throne is adorned with two deer flanking a Dharma Chakra (Wheel of Dharma) at the front, and four planets (Grahas) on each side. A similar sculpture is displayed at the Prince of Wales Museum in Bombay.
Every Brundage Collection: This collection holds an artistic sculpture of Parshvanatha standing in Kayotsarga posture on a lotus seat, beneath a triple umbrella supported by seven serpent hoods. The artist has vividly depicted the tranquil expression, long ears, and long arms – features mentioned by Varahamihira in his "Brihat Samhita." The sculpture appears to belong to the Digambara sect due to the nudity of the figure. At the feet of the main idol are attendants holding fly-whisks, above whom are depicted Gaja-shardula (elephant-lions). On either side of the head are swans, and celestial beings holding garlands are shown flying amidst clouds. The base of the sculpture features a depiction of a Naga and Nagini near a lotus stalk, along with devotees and offerings. This sculpture is believed to have been created in Bihar during the 11th century CE under the Pal rulers.
Cleveland Museum of Art: This museum houses a rare sculpture of Parshvanatha, created in Central India around the 10th century CE. It depicts Kamatha, along with his companions, attacking Parshvanatha. The text references the ancient Jain narrative where Kamatha caused hindrances during Parshvanatha's penance by throwing rocks, causing heavy rain, and attempting to frighten him with lions, scorpions, and demons. Parshvanatha remained steadfast in his severe penance, leading Kamatha to apologize later. The author mentions that such sculptures are rare, with similar ones found in Bihar displayed at the Victoria and Albert Museum in London, and from Arthuna at the Ajmer Museum. Other similar sculptures can be seen in Badami and Ellora. The Cleveland sculpture (No. 61, 419) is life-sized, depicting a nude Parshvanatha in Kayotsarga. Celestial figures, including a pair of Gandharvas, a conch player, and garland-bearing divine beings, are shown above the prominent serpent hoods. The sculpture also depicts Dharanendra and his serpent queens (Naganis) protecting the Tirthankara from Kamatha's onslaught of rain and stones by spreading their hoods above him. Attendants holding fly-whisks and four other Naganis are also beautifully depicted near the Tirthankara.
Jason B. Grossman Collection: This private collection features a beautiful head of a Jin sculpture made of sandstone, dating back to the 10th-century Rajasthan. The curly hair is depicted with great artistry. A auspicious mark is present on the forehead, but the absence of other features makes specific identification of the Tirthankara difficult.
Harry Lennart Collection: A contemporary Tirthankara stone sculpture is housed in this collection. The Tirthankara is seated in meditation on a throne. The Shrivatsa symbol is on the chest, but the iconographic symbol (Lakshan) is broken, making identification challenging. An attendant holding a fly-whisk stands to the left, while the right attendant is damaged. The upper right portion of the sculpture is also broken, with only a garland-bearing Gandharva and an elephant remaining on the right. This red sandstone sculpture is likely from Madhya Pradesh, dating to the 9th century CE.
Museum of Fine Arts, Boston: This museum displays the upper part of a Tirthankara sculpture from North India, dating to the 10th century CE (No. 55511). The author corrects Dr. Anand Coomaraswamy's misidentification of this 2'3" tall sculpture as Mahavira. The hairstyle, with hair tied upwards and matted locks falling on the shoulders, clearly indicates it is Adinatha. Despite significant damage, the sculpture is an exquisite example of art. Garland-bearing Gandharvas are shown flying in clouds on either side of the head. Above the triple umbrella, a celestial musician playing a mridanga is depicted, celebrating Adinatha's attainment of Kevalya (omniscience). The museum also houses a 9th-10th century CE bronze sculpture of a Jin from Mysore, depicted in meditation. Unlike other South Indian Jain sculptures, this one lacks the Shrivatsa symbol. It is well-formed and artistically beautiful. A similar stone sculpture of a Tirthankara in meditation, acquired in exchange from the National Museum, New Delhi, is displayed prominently in the Indian section of the Philadelphia Museum of Art. This sculpture, a 11th-century CE Chola-period creation, also lacks an identifying symbol.
Anjali Gallery Collection: During the medieval period, Jainism flourished in Rajasthan and Gujarat, leading to the creation of numerous Jain sculptures in stone and metal. Many of these are still preserved in museums and worshipped in Jain temples. This collection features a 1111 VS (1054 CE) bronze sculpture of a Tirthankara in meditation on a high throne, flanked by fly-whisk-bearing attendants and seated Yaksha and Yakshini on either side of the throne. The base depicts a Dharma Chakra surrounded by deer in the center, with four planets on the right and five on the left. The identifying symbol is unclear. The upper part shows garland-bearing Gandharvas and a divine singer playing a conch above the triple umbrella. Silver inlay is present on the eyes, Shrivatsa, and parts of the throne.
Bow and Willowby Collection: A sculpture dating to 1508 VS (1451 CE) from Western India is in this collection. However, the absence of an identifying symbol makes precise identification difficult. This Panchatirtha (five-Tirthankara) sculpture depicts the main idol flanked by two Tirthankaras in Kayotsarga posture, with another Tirthankara in meditation above them. Other details are similar to the previously described sculpture.
Jason B. Grossman Collection: Another Jin Panchatirtha sculpture is in this collection, with an inscription on the back indicating its creation in 1516 VS (1459 CE). This sculpture also features silver inlay on the eyes and the Shrivatsa symbol.
Los Angeles County Museum of Art: This museum exhibits a Panchatirtha sculpture of Lord Vimalanatha. An inscription on the back of the sculpture names Vimalanatha and states its creation date as 1587 VS (1530 CE). Vimalanatha's symbol, a boar (Shukara), is depicted below his seat. Besides standing Tirthankaras on either side, there are also fly-whisk attendants and another Tirthankara in meditation above them. The base depicts the Shanti Devi flanked by the Navagrahas (nine planets).

The article also discusses the presence of Jain goddess Ambika sculptures in America, originating from India.

Stendhal Gallery: This gallery houses possibly the oldest Ambika sculpture, from Odisha, dating to around the 10th century CE. Ambika is shown standing in a dvibhanga posture under a mango tree laden with fruits. She holds a mango bunch in her right hand and a young child in her left. Another boy stands to her right holding something in his right hand. The text mentions the names of Ambika's two sons as Subhankar and Prabhanakar in the Shri Puran. The goddess wears a beautiful crown, necklace, bracelets, and a sari. Three meditating Tirthankaras are depicted above the mango tree, and her vehicle, a lion, is seated in front. This is considered a superior example of stone art.
Every Brundage Collection: A stone sculpture of Ambika from Deogarh, Jhansi district, Uttar Pradesh, is also found here. In this tribhanga posture, both her right hands are broken, but the bunches of mangoes near her feet suggest she held a mango bunch in her lower right hand. Her upper left hand holds an indistinct object, and her lower left hand supports a child. Three meditating Tirthankaras are depicted above the mango tree, with a Tirthankara in meditation on either side of them. Attendants holding full pitchers stand near her feet. Her second son stands near her right foot, and her vehicle, the lion, sits near her left foot. The goddess is adorned with a beautiful crown, earrings, kundalas, necklace, garland, sari, and anklets. This sculpture is an excellent example of 11th-century CE Chandela art.
Boston Museum of Fine Arts: Two bronze sculptures of Ambika are preserved in American collections. The first, from Mysore, dating to the 10th-11th century CE, shows her standing in a dvibhanga posture on a lotus pedestal. She holds a mango bunch in her right hand and places her left hand over her son's head. Her second son is depicted riding a lion standing to her right. A mango tree with many hanging mangoes is above the goddess's head, with a meditating Jin depicted at the very top.
Anjali Gallery: A brass sculpture of Ambika from Western India, created in 1366 VS (1309 CE), shows her seated in a lalitasana posture on a high seat. While the mango tree is absent, she holds a bunch of mangoes in her right hand and cradles her son with her left. Her other son stands near her right foot. The goddess wears a karanda crown, earrings, kundalas, necklace, and sari. Her vehicle, the lion, stands near her left foot. A meditating Jin is depicted in a niche at the very top.

The author concludes by stating that this article has only briefly described a few Jain sculptures present in America, but many other museums also house Jain artifacts that warrant further study. He hopes scholars will contribute to this research.