Bharatiya Shilpkala Ke Vikas Me Jain Shilpkala Ka Yogadan

Here is a comprehensive summary of the provided Jain text, "भारतीय शिल्पकला के विकास में जैन शिल्पकला का योगदान" (Contribution of Jain Sculpture to the Development of Indian Sculpture) by Shivkumar Namdev:

This text highlights the significant and distinctive contribution of Jain sculpture to the broader development of Indian art and culture. It argues that understanding Jain art is as crucial as studying Jain literature for appreciating India's ancient heritage. Jain art, with its unique characteristics, holds a special place in Indian art history, with its sculptures, ancient temples, and pillars serving as vibrant examples of ancient Indian civilization and culture, embodying its past.

The author emphasizes that while literature expresses societal thoughts through the pen, art communicates inner feelings through material mediums, using tools like chisels. Jain sculpture is characterized by its creation of numerous "kayotsarga" (standing in self-control) and "padmasana" (seated in meditation) sculptures of Arhats. These sculptures are crafted from a variety of materials, ranging from stone to precious gems like coral, diamonds, sapphires, and lapis lazuli, as well as metals like copper, brass, silver, and gold. Jain sculptures vary in size from small to large and include multi-faced and all-encompassing forms. Sculptures are considered the primary archaeological artifacts of Jainism. While the fundamental posture of Jain sculptures is consistent across different regions of India, provincial influences are visible in their accompanying decorative elements and facial features.

The text traces the antiquity and development of idol worship in Jainism, noting its division into two main sects: Shvetambara and Digambara. Shvetambara idols are always adorned with clothing and ornaments, and they use flowers and other materials, but do not light lamps in their temples. Digambara idols, on the other hand, are always nude.

The earliest Indian sculptures found through excavations at Indus Valley sites like Mohenjo-daro and Harappa are discussed. The author suggests that if the Pashupati from Mohenjo-daro is considered a Shiva deity, then the nude torso found at Harappa could be interpreted as a broken Digambara idol. The Indus civilization seals depict a bull with broad shoulders and a figure with matted hair. The presence of a bull and matted hair leads to speculation that these could represent the first Jain Tirthankara, Adinath. Certain seals from Harappa (numbers 300, 317, and 318) depict figures in the "kayotsarga" posture with arms reaching down to the knees, similar evidence also found at Mohenjo-daro.

The archaeological findings at Mathura and Udayagiri-Khandagiri further support the ancient existence of Jain idols. Jain stupas were often adorned with sculptures. A Jain stupa in Mathura during the first century CE was considered divinely built and attributed by scholars to the period of Lord Parshvanath.

The systematic history of Indian art begins with the Mauryan period. Magadha was a prominent center of Jainism during this era. A Mauryan period Tirthankara sculpture, found at Lohaniipur, has broken hands and head, and the legs are missing near the thighs. The sculpture exhibits excellent Mauryan polish and its narrow chest and slender body are indicative of Jain asceticism. The text also mentions a bronze sculpture of Parshvanath from the Mauryan period, preserved in the Bombay Museum, depicting the "kayotsarga" posture.

During the Shunga period (185 BCE to 72 BCE), several sculptures indicative of Jainism's existence have been found. A Shunga-era wooden panel in the Lucknow Museum depicts the celestial dancer Nilanjana performing before Rishabdev. Rishabdev is shown seated amidst various kings, while the dancer's right leg and hand are in dancing poses.

The Kushan era yielded numerous artistic examples of Jain Tirthankaras in Mathura. The bronze statue of Parshvanath from Mathura, preserved in the Prince of Wales Museum, Bombay, is in the "kayotsarga" posture. The statue has a canopy of serpent hoods over its head, and its right hand is broken. The lips are long, and a symbol is depicted on the chest. The "Shrivatsa" symbol is absent in the middle, under the canopy, which appears in later Tirthankara sculptures. U.P. Shah has dated this sculpture to around 100 CE.

Ayagapattas (worship plaques) from the Kushan period are also discussed. One such plaque, preserved in the Lucknow Museum, was installed by Singhnadika for the worship of Arhats. It features a Tirthankara seated in "padmasana" in the center, surrounded by eight auspicious symbols on the outer frame. These symbols include a swastika, mirror, ash vessel, tripod (bhadrasana), two fish, and a flower garland. Other Kushan Ayagapattas are missing the mirror and nandavarta symbols, suggesting the final list of Ashtamangala symbols might not have been finalized by Kanishka's time (1st century CE). The Jain sculptures found at Mathura bear a strong resemblance to Buddhist sculptures, making differentiation difficult without close examination, especially the absence of the Shrivatsa symbol. The text notes that during the early Kushan period, there wasn't much religious rigidity in art.

The Gupta period, considered the golden age of Indian history, saw a continuation of Jain art, though Jainism was not as widespread. Gupta-era Jain sculptures are noted for their beauty and artistic quality. The use of lower garments and the Shrivatsa symbol are characteristics of this period. These sculptures are of high craftsmanship, often featuring a discus on the pedestal with two deer or bulls on either side, and a three-tiered umbrella at the top. Gupta-era Jain art also included divine figures like Yaksha-Yakshinis and Gandharvas. By the later Gupta period, various centers of Jain art were active, leading to a significant number of local sculptures. The influence of Tantric thought broadened the scope of artists, but they remained bound by classical rules. The period also saw the inclusion of 24 Yaksha-Yakshinis associated with the 24 Tirthankaras in art.

Sculptures from Durjanpur near Vidisha, bearing inscriptions from the Ramagupta period, are significant for resolving historical debates about Ramagupta's reign. Two of these sculptures are of Chandrapraha and one is of Arhat Pushpadanta. Despite some nudity, they are artistically important. One Chandrapraha sculpture has a bangle in the right ear, the Shrivatsa on the chest, a discus and lions on the pedestal, and a muscular physique. The other Chandrapraha sculpture's face is completely damaged, but the Shrivatsa is present on the chest. The third sculpture of Pushpadanta is similar.

Bronze sculptures found near Chausa in Bihar are preserved in the Patna Museum. Some of these show a clear influence of Gandhara art. A statue of Rishabnath from this site is notable. The halo and the body structure are artistically pleasing. The sculptures from the Seera hills, particularly of Parshvanath, are depicted with seven serpent hoods and seated in "padmasana." A headless idol from Rajmir's Vaibhav hill depicts a meditative figure, believed by some to be Vardhamana Mahavir before his initiation, but identified as Chakrapurusha, a manifestation of the Gupta period.

Two Gupta-era sculptures of Jivantasvami are preserved in the Baroda Museum, identifiable by their royal attire. A bronze sculpture of the first Tirthankara, Rishabnath, from Akota, dated to the 4th century CE, is artistically beautiful and nude, with half-closed eyes suggesting a meditative state. A sculpture from Besnagar (Gwalior Museum) features flying garland-bearing figures on either side of the halo, characteristic of the Kushan style. A sculpture of Ajitnath from Sarnath, dated to Gupta Samvat 61, is housed in the Varanasi Museum.

The text details the evolution of Jain sculptures through various periods and regions of India, including Mathura, Udayagiri-Khandagiri, Gupta period, Kalachuri period, Parmara period, and developments in regions like Bengal, Tamil Nadu, Karnataka, and Rajasthan. Specific mention is made of the famous Gommateshwara statue at Shravanabelagola, the elaborate temples of Khajuraho, and the sculptures found in various museums.

Key themes recurring throughout the text include:

• Material Diversity: Jain sculptures are crafted from a wide range of materials, from stone to precious metals and gems.
• Iconographic Features: The consistent depiction of Tirthankaras in "kayotsarga" and "padmasana" postures, the development and use of symbols like the Shrivatsa and Ashtamangalas, and the iconography of Yaksha-Yakshinis (especially Padmavati).
• Regional Styles: The text highlights how provincial influences affected the style of sculptures across different regions while maintaining core Jain iconographic principles.
• Chronological Development: The evolution of Jain art is traced through different historical periods, from the Indus Valley Civilization to the medieval period, noting changes in style, materials, and iconographic details.
• Influence and Integration: Jain art not only developed its distinct features but also interacted with and influenced other religious art forms, and vice versa.
• Importance of Study: The author concludes by reiterating that studying Jain art is essential for understanding the depth and richness of Indian art and culture.

In essence, the book "Contribution of Jain Sculpture to the Development of Indian Sculpture" argues that Jain art, with its unique aesthetic and thematic contributions, has played a vital role in shaping the broader landscape of Indian artistic expression throughout history.